The eternal anger & disappointment of the impoverished man
As regular readers will know (or possibly not), in the last few weeks I have been painfully parting company with a number of pieces of beloved studio equipment. This is most definitely not the norm. I am, and always have been, a collector. A hoarder, if you will. I am inclined to buy things simply to complete a collection or fulfil some aesthetic bent. But in my more mature, and somewhat impoverished, years, I have come to realise that this habit is very hard to feed and even harder to justify. So, with less reluctance and resistance than I would have encountered from my obsessive self a few years ago, I identified a number of pieces of equipment in my studio that were surplus to requirements and that, more importantly, might realise reasonable returns in the buoyant second hand market.
It was a hard choice, but when I removed the spectacles of sentimentality, it became surprisingly easy. I had a goal, a financial target which had been set by the cost of a new drum kit, an Alesis DM-10 Pro. Via my contacts at Alesis, I would be able to acquire one at a level under that which I would pay in a retail store, but a considerable sum nonetheless, especially to someone in a precarious financial position already. Without going into boring and personal detail, I support my family (partner and two children) on my wage alone. I also have considerable managed debt which is being paid off slowly and to the complete satisfaction of my creditors. Even so, it means that there is virtually nothing to spare at the end of each month, so I am particularly wary when it comes to all matters financial. There would have been no way I could’ve saved the money for this drum kit in a reasonable amount of time. It would be fair to say that if I had tried that method, Alesis would have superceded the DM-10 twice over!
Some things were easy to part with. Some not so. The first piece to go was my Yamaha RM1x. It had only ever seen active duty when I was playing in the last band that I was in. It was employed as a sequencer to play back piano and/or strings in certain numbers we used to perform. Other than that, it went wholly under used and was only broken out during moments of boredom. So a friend of mine decided he’d love to have it and made me a very reasonable offer which I accepted. Next up was the first proper synth keyboard I ever purchased, my Yamaha CS1x. Until I had this, I had relied on my Roland SC88VL module so to get a “proper” synth, with buttons, knobs and keys was very exciting, especially this lovely wedge of blueness. Again, another friend of mine made me a very good offer and she was duly packaged and shipped.
This left me with A Yamaha DX27 (acquired in a dead condition for free by myself and fixed at my own cost), a Yamaha SU10 and a Roland PMA-5, both purchased mainly because “I just fancied them”, rather than for a specific musical purpose. These went on to eBay and all sold at their reserve price or higher.
So, a week ago today, I had accumulated enough funds (helped by the sale of a set of alloy wheels and an old mobile phone) to buy the DM-10. I contacted my contacts at Alesis and asked them to get the ball rolling.
The following day, a national holiday here in the UK, I was bumming around online, and trying to finalise the sale of the aforementioned alloy wheels when I read a post on a forum about MOT’s. For non UK readers, the MOT is an annual road worthiness test that all cars older than three years have to pass in order to be legal. It was during the reading of this post that I found myself not able to remember when my MOT was next due, so I went to my file to check out the documentation. The colour soon fell from my face when I saw that for the last three months, I had been driving without a valid MOT!!! The initial horror was soon replaced by a modicum of relief at not having been caught and so first thing on Tuesday, I booked my test for the following morning. The cost of the test is £54 and some odd pence, so not a bank breaker, but of course the fear that they would find some major problem that would necessitate a hefty financial outlay was always looming.
So I dropped the car off on the Wednesday morning and remained on tenterhooks for the rest of the day. By 4pm, I had heard nothing, which usually means that everything is ok and they are just waiting for me to go and collect the vehicle. They only call you normally if it fails and there is work to be done. So I called the garage. “Ah, yes, we’re just totting up the cost of the work that needs to be done, sir” was the reply to my question. My heart sank. In fact, I think every organ in my body took up residence in my feet. I asked for the total bill. “Tell me what the total is, parts and labour, the whole shebang”.
“£400 sir. Shall we proceed with the work?”
£400.
In today’s terms, not a great sum of money, but when it’s almost half of what I had saved from the sale of my beloved instruments, almost half of the cost of the DM-10 Pro, it feels like the national deficit.
And so I was faced with a choice. Buy my drums as planned and have no car to drive to work, no car to ferry my family around in, no car to leave my reasonably remote village of residence at any time. Or, pay the repair bill and dash all dreams of getting the new drum kit. The drum kit that would’ve been the centre of my new ideas regarding a return to live performance for myself. the one instrument that I can play at the drop of a hat, no help required from machines.
The choice was painfully easy. On Thursday morning, I handed over £400 to the garage and drove away in my now legal car.
I am not ashamed to admit that I shed copious tears on the Wednesday night. I asked the emptiness of my bathroom why shit liked this always seemed to happen. I asked it when my financial woes might end. I asked it why those of us with little or nothing can never expect to gain something because it would all just get taken away from us. Of course, the empty bathroom would offer no answers, no consolation. Just cold emptiness, much like I felt inside.
Some may wonder why I got so emotional, felt so depressed. After all, these are just material things. No one is more acutely aware of the fact that there was a rather large element of GOOD fortune here too. Had I not sold the gear and had the money sitting there or, worse still, had already bought and paid for the drum kit, I would’ve been up shit creek as I would not have had the money to pay for the car at all. I would have had to, yet again, go cap in hand to friends or family to bail me out…. again. And that was something I would NOT relish.
I think I’m writing this as some form of catharsis. Yes, it’s all relative and in the grand scheme of things, it’s probably not of any real significance. But the shattering of one’s dream is always painful, whether it’s a dream of buying a drum kit or a dream of some great human endeavour. And if you are living on that thin line where your earnings barely cover your essential outgoings, are you any less entitled to have these dreams? Are you as entitled as any other to aspire to such things? No. But it is impossible nonetheless, because for every drum kit you save for, there is a car that needs fixing. A car that can only be 12 years old because your meagre wage says you can’t afford anything newer. If you’re wealthy, you can buy new, get covered by warranties, and have that lovely peace of mind. For every nice thing you aspire to, a thing that lifts the dark, heavy, black gloom of drudgery and having to work for everyone else, there is an equal or greater thing that will prevent you from attaining it.
Yes, I am bitter. I am depressed. I am angry. I am sad. I am broken. But I am also resolute. I am aware of the fortuitous aspects of this event. I am more determined. I am proud to have dealt with this alone without the need of others help.
But I am still incredibly fucking angry.
Exclusive & Exciting! Novachord in more formats!
Hollow Sun’s brilliant Novachord library is going from strength to strength by encompassing even more formats all the time, bring this exquisite library of vintage synthesis to an even wider audience.
It is looking increasingly likely that the library will soon be available in three more formats, to complement the existing EXS24 & Kontakt versions.
Last night I was given an exclusive sneaky peek at a Reason ReFill of the Novachord and it certainly looks pretty! 
I hear work is progressing apace and we should hear something very soon regarding a release date. Keep checking back here and at the Novachord website for the latest info. You can subscribe to my RSS feed right here.
Suffice to say, Reason is an extremely popular tool. It’s been my weapon of choice for some time now, with it’s immediacy and unrivalled stability. Some bemoan it’s closed format but in all these years, I have never felt restricted by it. Everyone has their own preferred tools for music making that suit their ideal work flow, and Reason ticks all my boxes 
And if that wasn’t enough, it looks like we will see the Novachord gracing the Akai S5000/6000 format soon, which means instant compatibility with the MPC4000 & MPC5000 production tools as well as the legacy Z Series rack samplers. The other beauty of the Akai format is that it will be readable by many other samplers and converters so this will increase the catchment of this unique library.
And finally, the Alesis Fusion will see it’s own version of Novachord soon after. Even after it’s untimely “death”, this vastly underrated workstation, which is rapidly gaining cult status and still commanding high used prices on eBay, is still getting up to date library from not only Hollow Sun, but places like Back In Time/KPR too.
Whilst I held Hollow Sun to ransom and squeezed this info out of them, they let slip of a number of high profile users of Novachord of which they are rightly proud, so who knows where we might hear this sublime collection of sounds soon??
Failed Muso Studio Gear Sale
I figure that by posting about it, it will motivate me to actually do it.
I have recently been toying with the idea of getting back into drumming and the idea is getting more and more appealing as time goes by. I do already have a kit, but it’s a bit dated now (Yamaha DTXpress Mk.1) and a fancy something a bit more 21st century. So I have decided on an Alesis DM10 Pro which I can get at a good price via my contacts at Alesis. Sure, I’d love a Roland V-Drum kit, but I’d also love the salary to be able to afford one!
So, to raise the necessary funds, I’m going to have to sell a bunch of existing gear. This is not easy. I am a hoarder. I hate to part with stuff. I’m usually okay once I’ve done it, but it’s getting to that point which is difficult.
Anyway, this is what I plan to sell:
1x Yamaha CS1x Synth
1x Yamaha DX27 Synth
1x Yamaha RM1x Sequence Remixer
1x Yamaha SU10 Sampler
1x Roland PMA-5 Touchscreen Arranger
I also have a Marshall Keyboard Combo amp.
As much as I love these bits of gear, they rarely get used now, with their abilities being easily taken care of by other bits of gear, such as my Alesis Fusion, Akai Samplers or even just in software.
Hopefully, the sale of this stuff will generate enough funds to purchase the drum kit.
These will only be sold in the UK, after my disastrous experience with the Elka Organ I sold last year, and preferably collection only due to weight (Obviously, this won’t apply to the SU10 or PMA-5). Shipping will probably be exclusively down to the purchaser to arrange.
If you wish to make an offer, do so via email to rob@failedmuso.com. Don’t use the comments sections.
More new stuff from Hollow Sun – Moog Taurus Mk.1 & Speak & Spell
Moog Taurus Mk.1
This afternoon I got first dibs at the newest addition to the ever increasing catalogue of commercial releases from sample legends Hollow Sun. This pack features the iconic Moog Taurus Mk.1. This bass pedal device was originally intended for sole use underneath an organ called the Constellation, but this Moog product never surfaced. The Taurus came with a 5 octave range and 3 presets plus a single user programmable patch.
It’s woofer trembling power soon found it’s way into many classic pieces of prog rock, electronica and dance music. It was often used both as a pedal board and also mounted and played by hands.
I can confirm that this a faithful, knee tembling recreation of the legendary Taurus sound
Incidentally, Moog are hoping to have 1000 newly built Mk.1 Taurus units for sale this November.
TI Speak & Spell
The other offering to come out of Hollow Sun is the free Speak & Spell pack for Alesis Fusion, Akai S5/6000, Z Series, MPC4000 & MPC5000 and Kontakt 3.5. This weighs in at 10MB approx. and includes every sound made by the Texas Instrument Speak and Spell toy.
A great, fun set of sounds
Things afoot at Hollow Sun
Some new and interesting developments over at Hollow Sun recently.
First up, Steve has started a blog. Now, if you know Steve as I know Steve, this is certainly not his “thing”. He views blogs, much like Twitter and any other form of Social Networking, as a lame and vacuous, self serving waste of time! Personally, I don’t agree, but that old Welsh git, purveyor of fine sampling products though he is, can be an old stick in the mud at times. So, for him to do this must mean something bigger lays behind it. And I can confirm that it does, although I can’t say what it is, but it will be good, I can guarantee you that!
Next is the Reaktor Korner, a small but perfectly formed repository of Reaktor ensembles, created over the years by Steve. Recreations of an ARP Axxe, ARP Odyssey and an emulation of classic string synths await you, all free of charge!
The following two new libraries I know VERY well! When I first met Steve, all those years ago, it was these samples that were my foot in the door, so to speak. Being a complete Fairlight whore, I wanted as many top notch samples as I could get, and Steve had loads of ‘em. It’s these samples that now feature, along with a big bunch of samples that also made me salivate uncontrollably, the Emulator EII, in his new release, Vintage Samplers.
Here’s the instrument list…
EII Arco Strings
EII Blown Bottle
EII Choir
EII Orch Chords
EII Shakuhachi
EII Strings
EII Waterphone
IIx ARR1
IIx ArrBass
IIx Bar
IIx BasClear
IIx Basso
IIx BassRick
IIx BobStrin
IIx BowdBass
IIx Drums
IIx ElBass
IIx FltCf
IIx Glock
IIx Kalim
IIx MarBlock
IIX Orch 5
IIx Piztwang
IIx Quartet
IIx Shatter
IIx StlBell
IIx Swanee
IIx V3Sus
IIx VibMid
IIx ViolHi
IIx ViolSus
IIx Wineglas
String Synths is a small, yet prefectly formed library featuring samples of such classics as a Moog Opus, Eminent 310, ARP String Ensemble, RS202 and a Roland VP330.
01 ARP String Ens
02 ARP String Ens Phaser
03 Eminent 310 Strings
04 Eminent 310 Phaser
05 Moog Opus 4′
06 Moog Opus 8′
07 Moog Opus 8+4′
08 Moog Opus 4′ Phaser
09 Moog Opus 8′ Phaser
10 Moog Opus 8+4′ Phaser
11 RS202 Strings I
12 RS202 Strings I+II
13 VP330 Choir
Finally, the Freepacks section of the Hollow Sun site now features, courtesy of Joeri Peters, the awesome PolyMoog Vox Humana patch, as well as the PolyMoog Strings I & II patches, all available in Akai, Alesis Fusion & Kontakt formats.
The True Art Of Sampling
Sampling.
Even today, some 30 or more years after digital sampling came to the world of music making, the word sampling, when used in a musical context, is viewed with equal amounts of cynicism and joy. Peter Gabriel once famously said that songs like Paul Hardcastle’s “19″ had set the art of sampling back by about 20 years. And you know what? He wasn’t far wrong.
Sampling is one of a number of electronic sound creation methods but sampling straddles the lines between other methods too. It can be a tone generator in it’s own right, but combined with other methods, can accentuate and aid them in achieving unique tones and timbres.
“19″ ushered in a desire for the novelty aspect of sampling. The ability to make silly, novel little sounds or phrases through stuttering and repetition. For a point of reference, consider the current trend of Auto-Tuning every R&B song to death. The perpetrators think it’s cool, but the listener soon tires of it and moves on.
The other thing about sampling is that during it’s early years, groups like the Musicians Union here in the UK expressed hysterical levels of concern that sampling heralded the end of real musicians and that computers would take over the world, killing or enslaving their former human overlords and rendering them obsolete.
Quite.
Anyway, back to Peter. Peter was right. The true art of sampling got set back by about 20 years or so. As soon as everybody decided they wanted to tr-tr-tr-tr-try sampling, the technique was considered too much of a novelty and no-one took it seriously. Then people started to use sampling for the sole aim of trying to accurately replicate instruments that already occurred in real life. It was seen as an easy and affordable way of having real instruments in a box, without the associated costs and logistics. Hence the Musicians Union’s stance. But nothing could replace real instruments played by real people. And to this day, nothing can. And whilst I’m sure that a time may come when machines may do an amazing job, I believe that the very thing that makes these instruments unique, the human element of free will and expression, will never be fully surpassed.
Peter, however, was a true pioneer in the field of sampling. Do a search on this blog for Peter Gabriel and Fairlight and you will turn up a number of YouTube videos showing Peter recording, and then using musically, found sounds and making great music with them too. Creating new, unheard of sounds from previously non musical sources. This was, and still is, the real art of sampling. Using the technology as a new source of sound, not one to replicate pre-existing ones.
Or is it?
As technology has advanced, samplers have become increasingly more powerful and capable of doing amazing things with sound. The advent of software samplers like Kontakt, EmulatorX, HALion, etc have ushered in a number of new and innovative ways of dealing with samples. I use the term “software samplers” very lightly here as, of all the applications that claim to be “samplers”, virtually all of them are actually better described as sample playback devices, EmulatorX from E-MU being a notable exception.
This advance in sample manipulation technology has allowed many new and wonderful things to be done but it has brought with it one awful, terrible side effect.
Bloatware.
In the “good old days”, samplists who beavered away creating libraries for the increasing amount of devices available, came up against one big problem. Size. The memory and storage capacity in those days was tiny by comparison to what we enjoy today. Today, one can purchase a 1.5 Terrabyte hard drive for £70 GBP. That’s 1500GB for the price of a Depeche Mode box set. That’s 1,500,000MB for the price of a tank of fuel in an SUV. That’s 1,073,741,824 kilobytes. Back in the day, you were lucky if you had 640kb to play with. So the samplists of the day used clever tricks and methods to shoe-horn as much in as they could, using Bonsai* sampling techniques. There was no waste, no fat, no bloat.
(* The term Bonsai Sampling courtesy of Steve Howell! ;o) )
Nowadays though, with space not being an issue, samplists have become shockingly lazy. It seems that people judge the quality of sample libraries simply by their size. a 50GB orchestra is considered to be far superior to one that fits into 100MB.
Oh that it were so.
Today’s libraries, in the main, are incredibly lazy. Vast amounts of silence at the end of each sample. No sustain loops, the master tool of the Bonsai samplist, in sight. Just fill up the space with rubbish because there’s enough room. And even then, the quality of the samples and the quality of the programming leaves much to be desired. It really is a sorry state of affairs.
Thankfully, it’s not all that bad. There are still true “old school” samplists out there who lovingly craft libraries that sound as good as or better than their bloated counterparts, but in a fraction of the space and, more importantly, a fraction of the cost. Two such examples are Hollow Sun and Indiginus.
Hollow Sun is, to all intents and purposes, the vehicle of one man, Steve Howell. Steve has been in the business since the early 70′s when he fell in love with Tony Banks’ Mellotron, amongst others. From doing roadie duties for Genesis, he swiftly moved on to synthesizers, building his own studio and hiring out his services until he started dabbling with samples and Akai samplers. Akai saw his talents and commissioned some material for their fledgling line of devices. The samples where a massive success and a long partnership ensued. Steve ended up being responsible for most of Akai’s library, also going on to design a number of the user interfaces for many of their MPC, S-Series & Z-Series product lines, as well as some of their digital recording workstations.
Hollow Sun came about as a sideline, initially to provide free or affordable samples for Akai devices and also to satisfy Steve’s love of not only the instruments but their history. His free Vintage Library is the stuff of legend. Sadly, leeching of the sounds and the actions of a few ignorant people saw that library illegally shared and with spiralling costs, Steve was forced to withdraw it. It would surface later in such things as his Nostalgia VSTi or in parts within the libraries for other instruments, such as the Alesis Fusion.
Since then, Steve has developed a modest but impeccable library, supporting not only Akai formats (S5/6000/MPC4000/5000/Alesis Fusion) but also Kontakt, Steve’s first proper departure into software sampler territory. Check out the following piece…
Steve has now added a whole new range of small, yet perfectly formed libraries to his shop, as well as making them all available for immediate download.
And Steve hasn’t forgotten how to treat his fans, so there is a wealth of free content too, including a raft of samples in various formats (just click on your preferred flavour and you will be taken to a page full of goodies) and a bunch of awesome Reaktor Ensembles.
And now Indiginus.
Like Hollow Sun, Indiginus is a one man show, that man being Tracy Collins. Tracy is a highly skilled session musician as well as a fantastic and very clever samplist. I first met Tracy a few years back when he was launching his sample libraries for the first time on Akai S5/6000 format. Back then it was just the Acoustic Guitar Collection and the then new Solid State Symphony. When I loaded the AGC into my S6000 I was blown away not only by the quality of the samples themselves but the intricate and extremely clever use of programming.
Tracy fully utilizes velocity switching in his work, which means that depending on the velocity at which the key is struck, a different sample, or blend of samples is played. How this manifests itself in his Acoustic Guitar Collection is that a very gentle touch plays a muted string, a normal touch plays a simple pluck and a very hard whack will get you a bent string. Now, this does require a bit of practice to get it sounding authentic, but once mastered, the results are nothing short of mind blowing. Just watch these videos….
As you can see in the 3rd video, Tracy has also included a Strum Maker program which makes authentic strumming an absolute breeze.
These guitar programs are so inspiring. You feel compelled to play them and tinker with the beautiful and incredibly realistic articulations.
And it’s not just guitars that Tracy has used his incredible programming techniques on. Check out this demo of his awesome Solid State Symphony package…
Solid State Symphony is also available in a smaller LE version.
As well as these two major libraries, Tracy also sells small $5 packages which include this glorious Lap Harp…
… and other electric guitars, electric pianos and session acoustic drums.
Tracy also offers some free sounds too.
So with guys like Steve & Tracy still creating original, imaginative and brilliantly constructed libraries, the true art of sampling lives on and you don’t HAVE to subscribe to investing massive amounts of $$$/£££/€€€ in big, bloated libraries which have you wading through them just to find the few hidden gems.
Every patch in a Hollow Sun or Indiginus library is a winner.
Hollow Sun relaunch with multi format downloads!!
The world famous and respected sample developer, Hollow Sun, have revamped their site, but most importantly, their product offering.
Most importantly, they are now, for the first time, available for immediate download!
Their libraries now come in a variety of formats including Akai S5/6000, Z Series, MPC4000 and the latest MPC5000 v2. There are also libraries for the Alesis Fusion too. And for the first time these libraries are available in Kontakt 3 format!
To use their words…
HOLLOW SUN now supports the popular NI Kontakt 3 format which takes these award winning sounds to new heights. Each sound has been meticulously converted to K3 format and hand crafted to take advantage of K3′s superb facilities.
HOLLOW SUN now offers a new download service in conjunction with PayPal. Just click on ‘BUY NOW’ and follow the on-screen PayPal instructions. You will be given a unique link to download your purchase. It couldn’t be simpler.
If you don’t have a PayPal account, no problem – you can use your credit card.
Buying from HOLLOW SUN has never been easier.
If you don’t have a suitable fast broadband connection, CDs are available on request.
>> SMALL PACKS NOW AVAILABLE
For those who, for whatever reason, don’t want to buy complete products, SMALL PACKS are now available enabling you to buy the HOLLOW SUN libraries in smaller, more affordable downloads.
>> AKAI MPC5000V2 COMPATIBLE
With the advent of V2 for the MPC5000′s new OS which can read S5/6000 ‘keygroup’ programs, all of HOLLOW SUN’s soundware is now directly compatible with the MPC5000.
If you use an MPC5000, HOLLOW SUN has to be your first port of call for new sounds to transform your MIDI Production Centre way beyond its hip-hop heritage.
Most libraries can be bought complete for $50, which is a bargain in itself, but they can now be bought in smaller chunks too. So, for example, you want the critically acclaimed Yamaha CP70 set, but not the other EP’s within that library (Wurlitzer EP200, Hohner Pianet or Classic EP), you can just download the CP70 for $25! Or you can have the Classic EP for $10, or the Wurli for $15. They’ll even let you have the RMI Electrapiano for free!
And yes, you read right. All of these libraries are available for immediate download! Pay your money and have those samples straight away. If you don’t have a suitable connection to download these, they will still provide them as CD’s on request.
There’s even a freebies section so you can sample their products and understand the quality you will get with these libraries.
I’ve known Steve Howell, the man behind Hollow Sun, for some years and we have worked together on a number of various projects, including Hollow Sun’s own library (including the Nostalgia VSTi) to work for Akai & Alesis on products such as the Akai MPC500 & MPC5000 & the Alesis Fusion & SR18. Steve’s work is impeccable and his list of credits is a veritable roll of honour, working with companies such as Akai, Alesis, Korg, Roland, Bela D, Apogee, HHB, Genex, and Novation as well as artists such as Peter Gabriel and Holly Johnson.
His skills as a samplist and programmer are second to none. I can personally vouch for the excellence of his output and can highly recommend any and all of his soundware offering.
Enjoy!
http://www.hollowsun.com/
New Products from Akai & Alesis!
Well, the boys in Rhode Island keep banging new stuff out. This time some competition for the Korg Nano range, a new (and welcome) 61 key addition to the MPK range and some Akai studio monitors, as well as a new electronic drum kit from Alesis and a handy USB MIDI interface cable. Read the press releases below….
Akai LPK25 & LPD8
The LPD8 and LPK25 are USB-MIDI controllers for musicians, producers, DJs and other music creators. Each model is less than 13 inches across and weighs less than a pound to easily fit into a laptop case, backpack or messenger bag for extreme portability.
The LPD8 is based on Akai Professional’s MPC line of iconic music product stations. While the smallest model, the MPC500 is quite portable, many producers prefer to work with software on their computer and the LPD8 gives their laptop the controls they prefer over a mouse and keyboard. The LPD8 has eight blue light-up pads that are velocity sensitive for programming rhythmic or melodic parts. The pads can also send program-change information to software. The LPD8 also has eight assignable Q-Link knobs to which users can assign virtually any parameters in their software for hands-on control.
The LPK25 is a scaled-down relative to the MPK series of keyboard performance controllers. The diminutive keyboard is made up of 25 miniature, velocity-sensitive keyboard keys with synth action. The LPK25 contains an arpeggiator, which steps through chords automatically, assisting musicians with creating quick melodic ideas. Sustain, octave up and down and tap tempo controls round out the LPK25’s easy-to-learn layout.
Each controller works plug and play with Mac and PC and requires no software driver installation or wall power for operation. Both the LPD8 and LPK25 have four memory banks for programming and recalling settings appropriate to different software programs they use.
“Today’s music is in constant evolution, and that requires the tools for music creation to evolve similarly,” said Adam Cohen, Director of Business Development, Akai Professional. “The computer has entrenched itself as the new core of the music studio, and we are now seeing more live performance with computers than ever before. The LPD8 and LPK25 are the perfect extensions of the computer for making music in any setting.”
The LPD8 and LPK25 will be available from musical instrument and professional audio retailers Q3 2009.
Akai MPK61
The MPK61 is a keyboard performance MIDI controller that expands the popular MPK line. Each MPK controller combines a piano-style keybed with a bank of genuine Akai Professional MPC pads, assignable Q-Link controllers and some of the technologies from the icon MPC. Producers, performers and DJs will appreciate the MPK61’s mix of 61 semi-weighted keys with aftertouch, 16 MPC pads with velocity and pressure sensitivity, 72 assignable Q-Link, MPC Note Repeat, MPC Swing and an arpeggiator. The MPK61’s size is ideal for performers who need a larger range than the original 49-key MPK49 offers, but also prefer the lighter weight and associated portability of a semi-weighted keyboard. The MPK61 retains the key split features from the MPK88, enabling the performer to divide the keyboard into two zones for performing with two different programs at once.Like its 25, 49 and fully weighted 88-key siblings – the MPK25, MPK49 and MPK88, respectively – the MPK61 empowers musicians to create and manipulate melodic, harmonic and rhythmic content and manipulate quickly with its arpeggiator, MPC Swing and MPC Note Repeat technologies. The MPK61 comes with Ableton Live Lite Akai Edition software, one of the most popular and powerful performance and production programs worldwide. Ableton Live Lite enables musicians to spontaneously compose, record, remix, improvise, and edit musical ideas in a seamless audio/MIDI environment. The MPK61 is a MIDI controller that sends MIDI values over USB for plug-and-play performance with Mac and PC. Because they are MIDI compliant, the MPK series works with virtually all MIDI recording, sequencing, and performance software for musical performers from keyboard players to producers to DJs and VJs.
“The MPK61 was designed to meet the requests of many keyboard performers,” said Adam Cohen, Director of Business Development, Akai Professional. “They loved the MPK49’s portability and ease of integration into their setup; they liked the large scale of the MPK88, and requested something in between: the MPK61.”
The MPK61 performance keyboard controller will be available from professional audio and musical instrument retailers Q3, 2009.
Akai RPM8
RPM8 studio monitors are two-way, active, bi-amplified, nearfield loudspeakers intended for producers, recording engineers, remix artists, DJs and other musicians. The two-way monitors each feature an eight-inch woven-kevlar low-frequency driver with 80W RMS of continuous amplification for robust, full bass all the way down to 39 Hz. The monitors’ high-frequency system consists of a one-inch silk-dome tweeter with 40W RMS of continuous amplification, mounted on a custom, functionally optimized waveguide for excellent control of directivity and reduction of unwanted early reflections.
RPM8 studio monitors contain active, fourth-order crossovers for outstanding separation and optimal power management. Their cabinet is constructed of industry-standard MDF for low resonance, and is dually ported on the front baffle for bass extension in any setting including soffit-mounted installations. The bi-amplification, ported cabinet design and overall acoustical efficiency combine to produce a speaker that can deliver up to powerful 113 dB SPL and with accurate frequency response from 39 Hz to 20 kHz. Producers will appreciate the RPM8s’ bicolor LED clip indicator, which assists them in avoiding damage to their system. Engineers can connect their professional studio systems to the RPM8s’ combination XLR-balanced 1/4″ TRS inputs for compatibility with a wide variety of source equipment.
“There is so much low-end content in music being made today,” said Adam Cohen, Director of Business Development, Akai Professional, “we felt that a studio monitor specifically designed for extended low frequency playback would appeal to the people who already use our MPCs and production controllers.”
RPM8 studio monitors are sold individually and will be available from professional audio and musical instrument retailers Q4, 2009.
Alesis DM10 Kit
The DM10 Pro Kit is the product of extensive research and development efforts. Based around the completely new DM10 sound module, the DM10 Pro Kit features Alesis’ RealHead drum pads, SURGE Cymbals made of real cymbal alloy and an ErgoRack mounting system.
Drummers will immediately notice the DM10 module’s outstanding sound quality. This new drum sound module contains true drum, cymbal and percussion sounds built from real samples of classic studio drums and prized cymbals. Drummers will find some of the most in-demand acoustic drum sounds from legendary drum brands, a huge arsenal of top producers’ go-to snare drums, real American, Canadian, Chinese, and Turkish cymbals, and electronic beat-machine sounds that have fueled the biggest hit records.
Discerning drummers will notice that each sound is actually a series of different samples: multiple dynamic-level samples and articulations are all built in so as the drummer plays harder and softer, the drum or cymbal changes its timbre, not just its dynamics. This engineered realism is known as Dynamic Articulation™, an Alesis exclusive. Drummers can play with or without reverb for different room sounds and enjoy a wide variety of rimshots, rim clicks and different stick-placement sounds on the cymbals. For example, a hi-hat’s sound depends on a number of factors: how open or closed the pedal is, how hard it is struck, and other variables resulting in 40 different sounds – plus foot chick and heel splash.
The DM10 module not only has a breathtaking collection of sounds on board, it is also the world’s first drum-sound module that enables players to load new sound sets via USB connection to their computer. This means that owners’ sounds will always stay fresh, current and cutting edge. Drummers can also use the DM10 as a trigger-to-MIDI interface for performing and tracking with software drum modules such as BFD, Toontrack and Reason. Drummers can play along with the tracks in the DM10’s internal sequencer, mix in an iPod or other MP3 player and play along.
The DM10 module has 12 TRS inputs, enabling drummers to create custom configurations with up to 24 different pads. Its top-panel mixer gives drummers easy access to creating custom mixes.
The DM10 Pro Kit has acoustic-feeling RealHead pads in eight-inch and 10-inch sizes. The dual-zone pads feature real mylar drumheads and real triple-flanged counterhoops for the feel professional drummers demand. The snare and tom pads are dual zone, enabling players to perform rimshots, rim clicks or assign other sounds such as wind chimes, cymbals, gongs and cowbells on the tom rims.
The DM10 Pro Kit comes with premium SURGE Cymbals, the only serious choice in electronic cymbals. The kit comes with a 12” SURGE Hi-Hat Cymbal, a 13” SURGE Crash Cymbal with choke and a 16” SURGE triple-zone Ride Cymbal with choke. Based around a genuine alloy cymbal and coated with a clear sound-dampening layer, SURGE Cymbals feel like acoustic cymbals because they begin life as just that. The Crash and Ride cymbals feature large choke strips on the undersides for even more attention to accurate cymbal control. The SURGE Ride also features multiple-zone triggering on the bell, face and edge. The SURGE Hi-Hat Cymbal is continuously controllable using the included pedal.
Drummers will appreciate the DM10 Pro Kit’s ergonomically curved, chrome-plated ErgoRack. It is heavy gauge, heavy duty, and supremely adjustable. The ErgoRack is large enough to enable drummers to add on additional drum pads and SURGE Cymbals. They can even mount acoustic drums, cymbals, and percussion instruments on this roadworthy system. It employs standard one and one-half-inch tubing for compatibility with virtually all drum manufacturers’ rack hardware. The rack features quick-release, metal clamps for fast setup and tear down. The Crash and Ride cymbals mount on large, knurled boom cymbal arms that are height adjustable right in the rack down tubes. The DM10 Pro Kit comes with tom mounts that enable freely adjustable mounting. Drummer-friendly wing-screws are present on all important rack clamps and pads for ease of adjustment without reaching for a drum key. The drum pads mount on standard 10.5mm L-rods with low-slip, knurled mounting surfaces.
“The DM10 Pro Kit is a giant leap forward for us,” said Jim Norman, Product Manager, Alesis. “We’ve taken everything we’ve learned about electronic percussion, and built the DM10 Pro Kit from the ground up to deliver an incredible playing experience at a breakthrough price point.”
The DM10 Pro Kit will be available from musical instrument and professional audio retailers in Q3 2009.
BFD is a trademark of FXpansion Audio UK Ltd.
Toontrack is a registered trademark of Toontrack.
Reason is a trademark of Propellerhead Software AB.
iPod is a trademark of Apple Inc., registered in the U.S. and other countries.
The kit’s DM10 module contains a breathtaking collection of sounds on board, and is also the world’s first drum-sound module that enables players to load new sound sets via USB connection from their computer. This means that owners’ sounds will always stay fresh, current and cutting edge. To that end, Alesis has established a partnership with FXpansion. FXpansion pushes the boundaries of audio software technology, with software such as the award-winning BFD series of software drum modules.
“We are proud and honored to partner with a first-class name in drum sampling,” said Adam Cohen, Director of Business Development, Alesis. “Drummers and producers alike will truly be impressed by these sounds.”
Alesis plans to announce additional development partnerships in the near future; visit www.alesis.com for the latest news.
The DM10 Pro Kit will be available from musical instrument and professional audio retailers in Q3, 2009. Sound sets from FXpansion will also be available in Q3, 2009.
All trademarks, product names and company names cited herein are the property of their respective owners.
Alesis USB-MIDI Cable
The USB-MIDI Cable is the latest addition to Alesis’ AudioLink Series of problem-solving cables for musicians. The MIDI-to-USB cable has traditional male and female MIDI (DIN) connectors on one end and a USB connector on the other. Musicians can use the USB-MIDI Cable to control virtually any MIDI-compliant software using any hardware device with a MIDI output jack, such as a keyboard, drum pad or MPC.
The USB-MIDI Cable is class compliant for plug-and-play USB connectivity on Mac and PC, requiring no software-driver installation or external powering. Musicians can use the USB-MIDI Cable with virtually all music production, sequencing and recording software.
“This new cable is perfect for bringing older MIDI controllers into today’s computer-music age,” said Jim Norman, Product Manager, Alesis. “The USB-MIDI Cable is one of those problem solvers that should be in every studio as an insurance policy, if nothing else.”
The USB-MIDI Cable will be available from musical instrument and professional audio retailers Q3 2009.
All these products will make their debut at the Alesis & Akai Professional booth, number 400, at the Summer NAMM Show held at the Nashville Convention Center, July 17 – 19.
For more information on the Alesis products, visit www.alesis.com; images are available at http://www.alesis.com/media.
For more information on the Akai products, visit www.akaipro.com; images are available at http://akaipro.com/media.php.
The power of the internet and the idiots that populate it
“With great power comes great responsibility”
Most recently used in the Spiderman movie, but often quoted elsewhere, this is a very accurate statement. The internet gives many individuals great power, but very few of them wield it responsibly.
I’ll cut to the chase and explain why I’m using that quote. A few years back, Alesis, an American pro audio manufacturer of synths, mixers, recording equipment and other hi-tech music devices, released its first synthesizer workstation, the Alesis Fusion. It was a brave and bold move into a market place dominated by the big 3 keyboard manufacturers, Korg (Triton), Roland (Fantom) and Yamaha (Motif). These three manufacturers were long used to vying for the top spot and Alesis’ move was questioned by many. They would have to bring something very new to the table besides a decent price point.
That was almost 4 years ago. Fusion ceased production last year. If you’re lucky, it can be found lurking in the bargain section of retailers or going for reasonable prices on eBay. Alesis no longer make a synthesizer workstation.
So, as you can probably tell, it wasn’t a truly successful venture. But why? Well, there are numerous reasons which could all be discussed at great length. I’ll mention a few here though. Firstly, the market was already saturated with established brands with their inherently loyal followings. Then there was the almost non-existent marketing. Also, the Fusion didn’t look the part. Its “retro-ish” exterior and layout broke from ingrained conventions. Then there was the functionality of the device. Its sequencer was linear, with no proper pattern based sequencing, much loved by many workstation users. The SATA port on the rear was never fully implemented. It took until v1.24 of the OS to get certain sync issues under control. Its presets were buried under a strange navigation system and the open nature of its internal architecture meant that many people got frustrated because they simply didn’t understand how to load, organise and store new sounds. Oh, and the manual was shockingly poor. Early versions claimed to have a Vocoder (printed on the packaging) but that never came about.
But, on the positive side, it offered 4 types of very powerful synthesis (Virtual Analog, FM, Physical Modelling and Sampling). All the other workstations out there only offered one of those as standard (sampling, mainly playback) and the others as additional paid for options. Its VA engine is extremely powerful, as is its FM engine. Sample wise, it has the benefit of actually being able to sample out of the box (unlike most of the others) and, with a little help from a small piece of free software, can import a number of other very popular formats. It’s a veritable sonic powerhouse and it retailed for significantly less than everything else in its league. It had a built in 40 or 80GB hard drive, it had on board 8 track hard disk audio recording via 8 external inputs, plus 32 tracks of MIDI. Powerful layer mix functions, ADAT and S/PDIF outs, big rotary knobs and a powerful modulation matrix, excellent quality key beds in 61 semi-weighted and 88 fully weighted versions. The hard drives also allowed for storage of an almost infinite number of sounds.
But, sadly, it failed. It sold enough to cover costs and give a satisfactory return on investment, but it didn’t set the world alight.
However, there was one REALLY big reason that Fusion failed to get a foothold. And that was the power of the internet and the idiots that populate it.
Even before Fusion made it into retailers, the forums and boards of the internet had started to fill up with posts and comments slating the Fusion. Virtually all were posted by fan boys of the big 3 (some even opined that these were direct employees of the big 3 themselves), and virtually all had not even seen or heard a Fusion! It was slated for its looks, its pedigree, its spec and its price. “Too cheap”, “Looks like something from the set of Buck Rodgers”, “No USB MIDI”, “No Pattern Sequencing”, “Alesis aren’t even Japanese, so how can it be good?”, and so on. Of course, Alesis shot themselves in the foot too. Poor marketing, silly little bugs, unimplemented promised features, poor choice of sample converter developer, clunky navigation of presets, and the like.
But the real damage was done by the power of the internet and the idiots that populate it. That is a provable fact. Sure, Alesis could’ve done things differently, but there is a vast amount of Fusion owners who use it completely and produce excellent results with it and from it. The fact that second hand eBay examples are still selling for good sums of money show the high regard it commands from those that ACTUALLY used it. The overwhelming majority of its online detractors never even got to be in the same room as a Fusion, yet still felt more than capable of writing page after page of error ridden bile about something they had no knowledge of. Because the Internet allows them to do so. It allows all of us to do so. It allows me to do this too.
So, why am I telling you the sad history of a short lived and much maligned keyboard?
Quite simply, it is happening again and I want to nip it in the bud. I want to call out the ignoramuses and challenge their idiocy and inaccuracies before they have a similar effect on a new product. The product in question is the Akai MINIAK. Launched only this week at Frankfurt MusikMesse (and launched late as the device got caught up in customs and only made it to the show for the last day or two), it has already been singled out by some self proclaimed “expert” as being the final nail in the coffin of Akai & Alesis. The offender, an individual who goes under the moniker of “SubAnalog” (he fails to give his real name anywhere) has posted comments on his and other sites, slating the MINIAK, but sadly his comments are riddled with inaccuracies and mistakes, as well as poor spelling, grammar and punctuation.
His own personal review (or attack) can be read here
For example, when referring to the MINIAK’s built in vocoder and its obvious similarities between it and the Alesis Ion & Micron synths:
The ION did NOT have a vocoder and I don’t think the Micron did either. It was a resonant filter. I called up the engineers at Alesis and they admitted that it was NOT a vocoder plus they also confesses that most fo the claims on the product sheet were wrong.
This mini(h)a(c)k is the freakin ION sound library. WTF – that was the worst synth I ever had BAR none
Follow up – for the record – NOT a vocoder. Looked over some specs and photos – that is a “tricked out” filter. There is NO carrier, you can hear the weakness, thus not a vocoder.
Same weak sauce as the ION. If you have never used a vocoder (I suspect Aleseis is in that category) you can be duped
Well, actually, the Ion DID have a vocoder, a 40 band one, just like the MINIAK, as did the Micron.
Another glaring mistake in this one man attack on Alesis:
Alesis specializes in:
Low ethics in their business practices (look at the mixer line and compare to Mackie. Case in point Mackie Onyx and Alesis Xenyx – hacks? – compare the specs and then theink “Why would you call it Xenyx?)
Alesis do not produce the Xenyx range of mixers. They are made by Behringer. Alesis produce the MultiMix range. No doubt, he hates Behringer too!
Apparently, he also possesses the power of prophecy when referring to the MINIAK:
I told my audio friends over a year ago that this will be the demise of Akai.
All quotes above are taken directly from his posts, with all spelling, punctuation and grammar left the way he posted it.
Investigating deeper on to his website yields some scary stuff. Not scary like “shit your pants” scary, more scary like “two people actually had sex and gave birth to this retard” scary:
Yeah, I am rather a prick about this gear. My bio warns you, and here I am again doing the same. I just want to level the data here. So here’s some stuff to lessen the blow.
First, I am wrong sometimes. I read things incorrectly, use it wrong, make a poor call, and so on. I will admit when I am wrong. Sh!t, google caches all this crap, so erasing my idiocy does little good.
Next, if I am wrong – let me know. I will put a considerable amount of time into researching your claim. If you are wrong and I am certain I will let you know. Go ahead and rock that whois information, you will be sitting by a PO Box for a long while trying to fight with me. I live in Colorado and the gun laws are pretty liberal here, so there may not be a fight, only a blood stain.
Also, this little gem:
I have called too many manufacturers out on sh!t and you are a bunch of losers. Alesis – 2x I called you out and you ran with your tail between your legs. Each of those 2 times I fired off a long list of LIES you called “features”. All bullsh!t. 100%. Dean (the old rep) hated me for what I told him when I beta tested the Alesis Andromeda – it was and still is a piece of shit. I was only truthful and not willing to be caught up on the smokescreen.
Ever notice how I have no reviews of current Moog synths? That is because they are so riddled with weaknesses and overwhelming stupidity I don’t even want to waste my time (the little Phatty is the least annoying of the lot and over prices by about $800)
His bio reads like the ramblings of an under achieving egotist with overwhelming delusions of grandeur.
He seems to have feelings of utter contempt and hatred for all things Alesis (and Akai, being guilty by association) although it’s not clear why. Maybe he got blown out by an Alesis employee when he came on to them too strong, or he could be a disgruntled ex-employee (watch out for this gun toting freak turning up in Rhode Island soon!)
Either way, his ill-informed, uneducated, ignorant, wholly inaccurate and laughable comments will be seen by those who actually know what they’re talking about as a whole heap of venom ridden bullshit. Just check the comments after his slating of the MINIAK at SonicState. His subsequent silence speaks volumes. I was also made aware of a response made to his post on his own site about the MINIAK which attacked his crapulent diatribe that never made it past SubAnalog’s moderation. So this guy can dish it out, but cannot take it. Hardly the basis for building credibility in the field.
Sadly though, there will be a bunch of people who will read this and believe it all to be true, and worse still, believe that the writer actually knows what he is talking about, which he clearly doesn’t.
So why have I made such a lengthy post about this myself? Am I an Akai/Alesis fan boy? No. Am I an Akai/Alesis Employee? No. Do I own Akai/Alesis gear? Yes. Do I own gear manufactured by many other companies? Yes. Am I paid to write this? No. Do I have a personal grudge against the afore-mentioned individual? No. Do I believe in freedom of speech? Yes. Do I believe that everyone is entitled to their own opinion? Yes, so long as it is an informed and educated one.
This guy is an utter fool and idiot. I personally won’t stand up and defend the MINIAK for two reasons. One, it is an inanimate object that does not need defending. Two, I haven’t used it and therefore cannot comment on whether it is good or bad. If I get my hands on one, I will be sure to let you know. If I like it I will say so. If I dislike it, I will also say so. But until then, I will reserve judgement. What I am attacking here, is the ability of one fool to propagate mis-information and bullshit and pass it off as considered and valid opinion. Many will smell it a mile away and treat it with the utter contempt it deserves, but many will read it and take it as gospel. And the knock on effects of this tiny (and it really is tiny) ripple could be significant. I am not being dramatic when I say that livelihoods are what may be at stake.
I urge you to be individual, free thinking people. Try things out for yourself. Listen to the good and bad and make your own mind up. And when you see such vitriolic tirades like his, smell the rat that it is and cave its head in with a shovel! ;o)
UPDATE:
Well, it would appear I have some very esteemed supporters on this issue, namely Nick Batt of SonicState.com and the mighty Dave Spiers, the man behind GForce (makers of fine software instruments such as MTron Pro, Minimonsta, Oddity, impOSCar, VSM, etc).
Check out the clip that mentions this subject below…
© Sonicstate.com. Reproduced by kind permission of Nick Batt, Sonicstate.com
Check out the entire SonicTALK Podcast 124 and others HERE.
New from Akai & Alesis @ Winter NAMM 2009
Three new products from the Akai/Alesis stable. I am reliably informed that other exciting news from the Jack O’Donnell triumvirate is imminent, including some worthwhile firmware updates 
)
But, for now, feast your eyes on these three…
Akai MPK25
The MPK25 draws on the design of the popular MPK49, the first keyboard ever to feature genuine MPC pads. It features a 25-key, semi-weighted keyboard with aftertouch, 12 MPC pads, Q-Link controls and MPC technology. Its smaller, more portable size makes the MPK25 the perfect travel companion. Its small footprint can fit in a musician’s lap on the couch or on a plane, enabling them to create tracks whenever inspiration strikes.
The MPK series features Akai Professional-exclusive MPC pads that are pressure and velocity-sensitive to capture every nuance of the user’s creativity. The pads can access four banks of sounds, so performers can have 48 samples at their fingertips with the touch of a button.
The MPK25 offers extensive assignable controls through its Q-Link section. The MPK25 gives players 32 parameters of hands-on control through 12 virtual knobs and four virtual buttons, each of which can access two different banks of assignment via a bank-change control.
Two technologies pioneered in the MPC series and built into the MPK series are MPC Note Repeat and MPC Swing. These note-modifying features can be heard in many of the most popular tracks over the last two decades. MPC Note Repeat automatically plays a rhythmic pattern, such as 16th notes on a hi-hat, for accuracy and speed of entry. MPC Swing is sometimes referred to as “the heart and soul of hip hop”. Users can specify exactly the degree and timing of swing they want to apply for the perfect feel.
The MPK25 has an arpeggiator, which enables performers to develop creative riffs in seconds. The arpeggiator features six different modes and can have its own swing settings independent of the MPC Note Repeat settings.
Because MPK series controllers are USB class compliant, they do not require custom drivers to work with Mac or PC computers and will work with all MIDI recording, sequencing and performance software. The MPK series is perfect for musicians, producers, DJs and VJs.
The MPK25 comes with Ableton Live Lite Akai Edition software, one of the most popular and powerful performance and production programs in the world. Ableton Live Lite enables musicians to spontaneously compose, record, remix, improvise and edit musical ideas in a seamless audio/MIDI environment.
“This new addition to the MPK line takes the expressive, creative capabilities of the MPK49 to new places,” said Gregg Stein, Director of Marketing, Akai Professional. “The MPK25 can go away for the weekend with you and it is easy to integrate into on-stage setups for multi-instrumentalists and drummers.”
The MPK25 keyboard controller with MPC pads will be available from pro audio and musical instrument retailers in Q2 at an MSRP of $399.99 and an estimated street price of $299.99.
Alesis iMultimix16 USB
iMultiMix 16 USB is the second entry in a new class of iPod mixers that started with the popular iMultiMix 8 USB. iMultiMix 16 USB features a Universal Dock for iPod that enables recording directly to any iPod Classic, 5th generation (video) and 2nd or 3rd generation iPod nano. The mobile recording mixer has iPod transport controls and a control wheel built into the surface for complete control of the iPod while it is docked in the mixer. For clean live recordings of nearly any performance, including home studios, musicians, podcasters and houses of worship, iMultiMix 16 USB is the ideal solution. The USB connection delivers convenient transfer of tracks into iTunes upon connection to a computer. Files recorded into the iPod are CD quality, 16-bit, 44.1kHz WAV files.
Mac and PC recording engineers can connect iMultiMix 16 USB using USB for direct-to-computer recording. In addition to its computer connectivity, iMultiMix 16 USB offers eight analog inputs, 100 digital, 28-bit effects, phantom power and two switchable mic/line/guitar inputs.
Steinberg Cubase LE 4 and Ableton Live Lite 7 recording and performance software are included, completing the total-studio package.
“iMultiMix 16 USB is supremely versatile,” said Jim Norman, Product Manager, Alesis. “You can record any source in a studio, stage or rehearsal-room environment, add the onboard effects and then route your mix out to a PA, computer, hardware recorder, iPod or combinations thereof.”
iMultiMix 16 USB is available from pro audio and musical instrument retailers. It has an MSRP of $799.99 and a street price of $599.99.
Alesis ProTrack Mobile Recording Kit
The Alesis ProTrack Mobile Recording Kit combines the innovative ProTrack handheld recorder for iPod with Alesis’ new AM2 Stereo Microphone Set. The kit enables musicians and recording engineers to record high-quality stereo sound directly to their iPod from a wide variety of sources.
The ProTrack provides direct-to-iPod, stereo, digital recording in a portable, handheld form. Consumers can capture live audio anywhere and anytime with their iPod. The ProTrack’s design integrates the iPod into the recorder and clear, protective covers securely mount the user’s iPod to the recorder.
Users can record detailed, stereo audio using the ProTrack’s onboard dual condenser microphones, which are fixed in XY-stereo configuration for reliable stereo imaging. While the onboard microphones are capable of capturing quality sound, the ProTrack Mobile Recording Kit includes the AM2 Stereo Microphone Set, a matched-stereo, cardioid condenser microphone kit with two AM2 microphones, windscreens, clips, a padded hard case and an XY-stereo mount.
Using the ProTrack with the AM2 microphones enables the user to place a microphone with near-limitless flexibility in both stereo-miking techniques and applications. For example, drummers can use the AM2s to capture their drumset, guitarists can capture a stereo image of their acoustic guitar or amplifier and bands can record their sets live, in stereo. The ProTrack supplies the necessary 48V phantom power to power the AM2 condenser microphones.
AM2 microphones are low profile, miniature cardioid condensers with switchable -10dB attenuation and high-pass filter. With a clean fet amplifier and a transformerless output stage, AM2 microphones offer low-self-noise, high-resolution audio capture. Their small diaphragm condenser capsules offer excellent pickup of the “air” that characterizes high-quality small diaphragm condensers.
AM2 microphones can be used very close to a sound source without the sound becoming harsh. The switchable high-pass filter reduces interferences through subsonic and low frequencies and compensates for proximity effect. The attenuation switch enables the microphone to handle high sound pressure levels without distortion.
“The ProTrack Mobile Recording Kit makes the ProTrack even more flexible,” said Jim Norman, Product Manager, Alesis. “You can place these tiny, quality mics nearly anywhere and grab excellent audio.”
The ProTrack Mobile Recording Kit is available now from pro audio and musical instrument retailers at an MSRP of $399.99 and an estimated street price of $299.99.
