Music Instrument News

Together with the new Privia PX-830 digital stage piano, Casio has introduced its latest Celviano digital pianos, the AP-620, AP-420 and AP-220 models.

In a compact case design not dissimilar to the Privia PX-830, features include a four-layer dynamic stereo piano sample, 128 note polyphony, 88-note Tri-Sensor scaled hammer keyboard, plus a resonance effect that mimics the sound of the dampers being released from the strings.

Available from the spring with prices ranging from $899.99 to $1,399.99.

About six months have passed since Casio launched its last Privia digital stage pianos and now we have the PX-830 to peruse.

Casio has certainly pulled out all the stops with this one, which offers four-layer dynamic stereo piano samples with seamless transitions and a wide dynamic range — in other words, more realism.

In-built is the simulated sound of open strings when the dampers are raised, thanks to the Acoustic Resonance DSP.

128 notes of polyphony should ensure complex performances, pedal use, and layered sounds don’t result in dropped notes.

How an instrument feels to play is critically important, and Casio’s “Ivory Touch” Tri-Sensor scaled hammer action keys should satisfy in that department.

There are 16 tones built in, a duet mode that allows simultaneous playing by two people in the same range, plus a two-track recorder.

Available from April, with a price tag of $1799.99 for the black polished cabinet edition or $1399.99 for the black matte version.

Casio

We’re no stranger to Yamaha’s range of home keyboards, and in fact a couple of years ago recommended a few current PSR series keyboards for anyone looking to choose a child’s first electronic keyboard.

As you’d expect, Yamaha has once again upgraded its PSR series — the PSR-E set in fact — with the PSR-E423.

This 61 key (5 octave) touch sensitive keyboard offers a range of functions that make it ideal for both beginners and improvers, whatever style of music they’d like to get into.

So, while it can’t rival a full-size digital piano, it will give a pretty good introduction to anyone seeking to learn.

It may not match the most advanced synths around, but it does include features such as an arpeggiator, tonal filtering, and pitch bend.

For music composition and inspiration, the Arpeggio feature has 150 patterns that change dynamically based on what notes and chords are played, while there are 700 dynamic voices to whet your appetite.

Yamaha’s keyboards have always had advanced rhythm and accompaniment sections, and the PSR-E423 expands things yet again with the inclusion of Arabic, Indian and Chinese content. And with 16MB memory, 64 note polyphony plus organ flutes function, It’s definitely no pushover.

Full specifications below. Exact pricing and availability to be confirmed.

Keyboard Number of Keys   61 Keyboard-style keys   Touch Response   Yes Voice Number of Voices   700(183 Panel Voices + 462
XGlite Voices + 15 Drum/SFX
Kits + 40 Arpeggio Voices) Numer of Polyphony   32   Featured Voices   Sweet! Voice x 5
Cool! Voice x 3
Dynamic Voice x 3 Voice Edit   2 Control Knobs
(Filter Cutoff/Resonance,
Effect Reverb/Chorus,
EG Attack/Release,
Style Filter Cutoff/Resonance,
Style Tempo) Compatibility XG lite/ XG/ GM Yes/ No/ Yes Effect Reverb/ Chorus   9 types/ 4 types Preset Master EQ   5 types Dual/ Split   Yes/ Yes Harmony / Echo   26 types Arpeggio   150 types Style Preset / User 174 / Yes Sections Intro / Ending / Main A / Main B / Fill AB / Fill BA Fingering Multi Song Playback #Preset Songs 30 (30 onboard, 70 CD-ROM)     Compatible File Format SMF   Recording Number of Songs 5 (Max)     Number of Tracks 6 (5Melody + 1Chord)     Realtime/ Step/ Edit Yes/ No/ No   User Song to SMF Converter   No   Score Display   No Easy Song Arranger     Yes Music Database
Overall Control Number of Songs   305   Tempo/ Metronome   Yes   Transpose/ Tuning   -12 to 0, 0 to +12/ +-100 cents   Pitch Bend Range 1 to 12 Lesson Type Yamaha Education Suite (Y.E.S.)
Waiting,Your tempo,Minus one   Repeat & Learn   Yes   Chord Dictionary Yes Performance assistant technology   Chord One Touch Setting   Yes (Incl. Voice List) Registration Memory   2 Pads x 8 Banks Controller Pitch Bend Wheel Yes   Control Knobs   Yes, Knobs x 2   Pedal   Sustain (Option) Display Type   Custom LCD/92mm x 42mm   Backlit Yes (Blue LED) Storage Flash Memory XG/XF Songs Yes (1.8MB) Outboard Song Style Yes Content Others Yes Cabinet Key Cover Style Sliding PC Connectivity Song Transfer Yes   Interactive (DMN/Hi-Chao) Yes Aux. Jacks DC IN DC IN, Phones (/Output), Pedal(Sutain),
USB TO HOST(MIDI) Amp & Speakers 2.5W+2.5W/12cm×2 + 3cmx2 Sleep Mode No Power Power Supply Adaptor (PA-130), or batteries
(Six “AA” size, LR6 or equivalent batteries) Dimensions Width/Depth/Height (w/o MusicRest) 946mm/402mm/136mm Weight 7.0kg (15lbs. 7oz.) Bundled Accessories Song Book No (CD-ROM including)   CD-ROM Yes/ Menu Application,
Musicsoft Downloader,
USB-MIDI Driver, Song Data, Style Data,
MDB Data, Song Book (PDF) * All tentative specification.

Yamaha has announced its new CF Series of handcrafted acoustic grand pianos.

The three models, including the full-size (9 foot) CFX concert grand, the CF4 (6′3″) and CF6 (7′), are based on extensive research and development including play testing with some of the world’s top classical performers.

The new CF Series is unique in that many artists got involved with the design,” said Mark Anderson, marketing director for Yamaha’s Keyboard Division. “Most excelled in all music genres, but the focus was on classical performance. The result is an instrument that will appeal to the world.”

“We compared prototypes on stage in large concert halls against the best our competition had to offer in order to evaluate their positive qualities, as well as their limitations. Using this knowledge, we can now offer players incredible artistic possibilities.”

The CFX replaces Yamaha’s acclaimed CFIIIS concert grand piano.

Full specifications and exact launch date are to be confirmed.

Yamaha has announced a redesigned series of CP digital stage pianos, including the CP1, CP5 and CP50.

The top-of-line CP1 features the new NW-STAGE weighted wooden keys plus Yamaha’s new Spectral Component Modelling process which is touted to reproduce the sound and expressiveness of acoustic and vintage electronic pianos better than any previous audio technology.

It replicates the instrument’s physical components, including the hardness of the hammers, resonance of the sound board and the striking position of the hammers, for an ultra-realistic tone generation.

If that weren’t enough, there’s also Virtual Circuit Modelling which replicates the effect units, amplifiers, compressors, EQ and other equipment that were so essential in creating many of those legendary vintage sounds.

Finally, there’s a huge range of effects including VCM emulations of a number of historic pedals.

With all that on board, it’s good to know there’s 128-note polyphony to play with.

The CP5 and CP50 offer a slightly cut down range of features.

The CP1 is available now, while the CP5 and CP50 are expected in April.

Check out the full specifications of the keyboards below:

CP1 Specifications Keyboards 88 keys, NW-STAGE keyboard
(Wooden synthetic ivory weighted keyboard) Maximum Polyphony 128 Tone Generator SCM Performances Preset 16 x 3 groups   User 16 x 3 groups   External 16 x 3 groups   Parts 2   Voice Block 17 piano types   Modulation Effect Block 10 types   Power Amplifier / Compressor Block 8 types   Reverb 8 types   Master Compressor –   Master Equalizer 5–band Rhythm Number of Kits –   Number of Patterns – Display 55 character x 2 lines, VFD Controllers Pitch bend wheel, Master volume, Knobs 1 to 6 Connectors Output PHONES
L/MONO,R (Unbalanced)
L, R (Balanced)   Foot Switch SUSTAIN, SOSTENUTO, SOFT,
ASSIGNABLE   Foot Controller x 2   Mic Input –   MIDI IN, OUT, THRU   USB TO HOST, TO DEVICE Power Consumption 16W Dimensions (W x D x H; not including pedal unit) 1,385 x 420 x 173 mm Weight (not including pedal unit) 27.2 kg Additional Package Contents Power cord, Pedal unit, Illustrated Guide to
the CP1 booklet, Owner’s Manual, Data List booklet,
Software DVD-ROM* * Software DVD-ROM: Steinberg Cubase AI DAW Software.

CP5 Specifications Keyboards 88 keys, NW-STAGE keyboard
(Wooden synthetic ivory weighted keyboard) Maximum Polyphony 128 Tone Generator SCM + AWM2 Performances Preset 10 x 4 groups x 3 banks   User 10 x 4 groups x 3 banks   External 10 x 4 groups x 3 banks   Parts 6   Voice Block 17 piano voices + 305 other voices   Modulation Effect Block 49 types   Power Amplifier / Compressor Block 8 types   Reverb 8 types   Master Compressor 3-band   Master Equalizer 5–band Rhythm Number of Kits 14   Number of Patterns 100 Display 24 character x 2 lines, VFD Controllers Pitch bend wheel, Master volume,
Knobs 1 to 3, Part volume x 6, Gain
Master equalizer x 5 Connectors Output PHONES
L/MONO,R (Unbalanced)
L, R (Balanced)   Foot Switch SUSTAIN, ASSIGNABLE   Foot Controller x 2   Mic Input x 1   MIDI IN, OUT, THRU   USB TO HOST, TO DEVICE Power Consumption 25W Dimensions (W x D x H; not including pedal unit) 1,381 x 405 x 174 mm Weight (not including pedal unit) 25.2 kg Additional Package Contents Power cord, Foot pedal FC3,
Owner’s
Manual, Owner’s Manual CD-ROM,
Software DVD-ROM* * Software DVD-ROM: Steinberg Cubase AI DAW Software.

CP50 Specifications Keyboards 88 keys, GH keyboard Maximum Polyphony 128 Tone Generator SCM + AWM2 Performances Preset 10 x 4 groups x 3 banks   User 10 x 4 groups x 3 banks   External 10 x 4 groups x 3 banks   Parts 3   Voice Block 12 piano voices + 215 other voices   Modulation Effect Block 49 types   Power Amplifier / Compressor Block –   Reverb 8 types   Master Compressor 3-band   Master Equalizer 3–band Rhythm Number of Kits 14   Number of Patterns 100 Display 24 character x 2 lines, VFD Controllers Pitch bend wheel, Master volume,
Knobs 1 to 3, Part volume x 3, Master equalizer x 5 Connectors Output PHONES
L/MONO,R (Unbalanced)   Foot Switch SUSTAIN, ASSIGNABLE   Foot Controller x 1   Mic Input –   MIDI IN, OUT, THRU   USB TO HOST, TO DEVICE Power Consumption 7W Dimensions (W x D x H; not including pedal unit) 1,381 x 332 x 165 mm Weight (not including pedal unit) 20.9 kg Additional Package Contents Power adaptor PA-150 (or an equivalent
recommended by Yamaha), Foot pedal FC3,
Owner’s Manual, Owner’s Manual CD-ROM,
Software DVD-ROM* * Software DVD-ROM: Steinberg Cubase AI DAW Software.

Yamaha has announced its latest Arius Ensemble digital piano, the YDP-V420.

It attempts to bridge the gap between a high-quality digital piano and the versatility of other keyboards, by including a wide range of high-quality sounds and accompaniment styles as well as cutting edge digital piano touch and sound.

As you’d expect from Yamaha, you get a great 88-key Graded Hammer Standard action and AWM sounds. You also get some of the best from Yamaha’s other keyboard instruments, such as 131 voices that include Sweet, Cool and Live voices, 191 interactive auto-accompaniment styles, plus XGlite song file compatibility that allows professionally-produced MIDI files to be loaded on to the instrument.

Full specifications should be available nearer to launch date, expected March 2010. As well as the spinet style cabinet, the set up comes with a padded bench.

Korg’s latest addition to its line of digital pianos is the SP170, a full-size keyboard that minimises distraction by doing away with control panels in favour of emphasising the keys and sound system.

If you’re after a simple keyboard where attention has been paid more to the feel and sound than additional features, the SP170 could be for you.

The ten sounds — two acoustic pianos, two electric pianos, harpsichord, clavichord, vibraphone, pipe organ, electric organ and strings — are selectable via the keys themselves, eliminating the need for buttons and leaving more room for the two 10cm x 5cm oval speakers, driven by 9W x 2 amplifier. There’s a reasonable 120 note polyphony (60 notes per stereo channel).

Korg has implemented its Natural Weighted Hammer Action system which promises a realistic feel — keys in the lower range are more heavily weighted than those in the upper range. Then again, every digital piano manufacturer offers something like this now, so you’ll need to play one to see if the feel is right for you.

Other functions include transposition, pitch control, MIDI output and damper pedal jack (just one pedal, it seems). Also two headphone/line out jacks.

It’s available in either black or white finish, weighs in at just under 27lbs and measures 51.65″ (W) × 12.8″ (D) × 5.24″ (H).

It has a RRP of $499.99.

Product page

Whenever you buy a new digital piano, keyboard or synthesiser, one of its key specifications is the amount of polyphony.

But what exactly is polyphony?

In pure musical terms, polyphony is used to describe two or more independent melodic voices. This is in contrast to monophony (a single voice) or homophony (a single melody with chords).

However, when it comes to electronic musical instruments, we’re simply concerned with how many tones can be sounded at any one time.

These sounds don’t have to be melodic — in fact they don’t even necessarily have to be audible to the human ear!

Polyphony is the number of sounds an instrument can generate simultaneously.

That’s the theory, and in principle it’s pretty simple. In practice, however, things get a bit more complicated.

Let’s take a look at a digital piano. It may say that it has 64 note polyphony. That sounds rather a lot, right? After all, you only have ten fingers so you can’t play more than ten notes at any one time.

Correct — in part.

However, consider how most pianists play the piano, with judicious use of the sustain (damper) pedal.

Now consider that, in a digital piano (as opposed to an acoustic one, which effectively has unlimited polyphony) every single note counts towards the total polyphony from the moment it is first played, when a key is struck, to the moment its sound finally decays.

Long passages of music with heavy use of sustain could have tens or even hundreds of notes sounding at any one time, which is why a high polyphony count is generally considered a good thing.

If any instrument “runs out of sounds”, then generally new sounds take priority and currently playing sounds are abruptly cut off. This can produce an unnatural, clipped sound.

Now let’s look at a synthesiser instrument.

You may assume that every note you play is a single sound, but your selected sound might be a composite of several sounds. That eats into polyphony.

As a further complication, some manufacturers “bank” polyphony into two or more groups. So, an instrument that claims 128 notes of polyphony may in fact offer two distinct groups of 64 notes. Some sounds may be available in one group but not the other, so, depending on which sounds you select, you may not always get full polyphony.

Now consider the use of rhythm and other accompaniments on home keyboards.

Every auto-accompaniment you play could be using multiple sounds at any one time, reducing the amount of polyphony remaining for the sounds you wish to play over the top.

And finally, it’s fairly obvious that if you are using either an on-board sequencer, or one on your computer that uses the keyboard’s own sounds, then you’ll need more polyphony in order to play two or more tracks of sounds simultaneously.

So, when purchasing a keyboard instrument or synth unit, consider its polyphony and whether it will be sufficient for your needs.

Generally, the higher polyphony the better, though you will pay more for the privilege.

Image by Horla Varlen

I’ve got a Yamaha P140S digital piano at home, and for the most part I use the three main piano voices, depending upon what mood I’m in, but I tend not to use the other voices much.

Then the other day I decided to play around with the three electric piano voices, and in fact found that I loved them.

Not only did I love them, but it forced me to play in a different style.

Things that sound great on an acoustic piano don’t always work on an electric piano.

Similarly, things that a normal piano sound can’t give you (ringing echoes or shiny vibrato, for example) are natural on some electric piano sounds.

Of course, if you’ve got a synth you can choose pretty much any sound imaginable, but the beauty of picking other keyboard sounds is that the method of playing them is still natural.

That being said, there’s a big technique and performance difference between playing a piano, an EP, a harpsichord, or any other keyed instrument.

That’s not to say you can’t extend the concept and play a whole range of different sounds, but if you’ve got a digital piano with a few additional sounds, why not crack them open a bit more often than you usually do?

This is an especially good technique if you improvise a lot but have got stuck in a rut. Even if you end up playing the same chord structures, I bet you’ll find new ways of playing to suit the sound.

Experiment and have fun!

Best Service announced one of their latest products – the long-awaited RealLPC virtual guitar instrument.

RealLPC provides incredible playability based on the unique performance modes and easy-to-use keyboard layout as well as the advanced key/pedal/velocity switch system allowing a keyboardist to perform guitar parts with a whole new level of realistic expression. RealLPC covers practically all sounds, articulations, and techniques a professional guitarist can produce on his Les Paul, including mute, bridge mute, harmonics, pinch harmonics, unison bend, strumming, picking, chord chopping, scrapes, and much more.

For users of RealGuitar or RealStrat, crossgrades are available at reduced prices.

RealLPC will be available in the end of the year for €198. (Crossgrade for users or RealGuitar2L or RealStrat €159. Crossgrade for users of RealGuitar2L and RealStrat €139.)

More information about the product at the official site of the producer: Best Service

JZ Microphones announced their new microphone line.

It is called JZ Vintage and it will be a microphone line with a unique and smart design with the well known vintage sound.

The new microphone series mics have a flask shape with built in shockmount and unique capsule. JZ will have three different models — V-67, V-47 and V-12. Each mic will have the best vintage sound in honour of U67, U47 or C-12. Capsules will be improved by patented JZ Golden drops capsule sputtering technology.

“We all know how important for recording industry are certain vintage mics and how people use to prefer them as standards for comparisons and evaluation with other mics,” says Juris Zarins, microphone designer. “In a fact that vintage mics in a high quality are not easily available we decided to launch this microphone line to satisfy demand of our customers and complete also our microphone range. I believe that JZ Vintage microphones are going to shake all microphone industry!”

JZ Microphones was established in Latvia in 2007. The company develops innovative modern recording equipment and world-renowned studio microphones.

More information about the new microphones can be found here: JZ Microphones

Solid Cables has unveiled its entry into the speaker cable market.

The new Eleph speaker utilizes ultra pure copper conductor of different diameters to better carry the full frequency spectrum of sound any amplifier could create.In doing this, the Eleph cable provides a truly transparent link between the amplifier and the speaker.

Solid Cables believes they are the first to make the innovation of using not only an ultra pure copper 10 gauge conductor, but one made up of different diameter strands to better carry the full spectrum of sound. The conductors are in a helical wind pattern to resist electrical and mechanical noise and housed in a 6000 PSI tear resistant armor. All conductors are permanently isolated in an avionics grade adhesive to eliminate internal breakage, shorting or solder joint failure.

Features:

• Suspended polymer insulator
• All metal shell
• Armor and ends permanently fused with avionics grade heat shrink
• Hand soldered using premium audio grade silver alloy
• Helical wound ultra pure copper conductor, multiple diameter
• Quadruple strain relief
• 6000 PSI tear resistant protective outer armor
• Available with Speakon™ connectors
• Available in Carbon Black only

The cable is available for $135 (for 3 foot Eleph speaker cable).

For more information about the product, please visit: Solid Cables

PRS Guitars presented one of their latest products – the SE Singlecut Korina guitar.

The SE Singlecut Korina is versatile, light weight guitar with a musical tone, and is the first solid Korina SE model offered by PRS Guitars.

The SE Singlecut Korina features include a solid Korina body, 3-piece Korina neck with 22 fret Rosewood fretboard, 25” scale length and moon inlays. Other appointments include two humbuckers, a master volume and tone and a 3-way toggle. Vintage Amber is currently the SE Singlecut Korina’s exclusive color offering.

BODY

Body Wood – Korina

NECK

Number of Frets – 22

Scale Length – 25″

Neck Wood – Korina

Fretboard Wood – Rosewood

Neck Shape – Wide Fat

Inlays – Moons

HARDWARE

Bridge – PRS Designed Stoptail

Tuners – PRS Designed Tuners

Hardware Type – Nickel

Treble Pickup – PRS Designed Treble Humbucker

Bass Pickup – PRS Designed Bass Humbucker

Pickup Switching – Volume and Tone Control with 3-Way Toggle Pickup Selector

For more information about the guitar, please visit its official site: PRS Guitars

Advertisement: zZounds.com The widest selection of name-brand instruments at guaranteed lowest price.

Akai is now shipping one of its latest products – the MPK88 keyboard.

The Akai Professional MPK88 is a professional performance keyboard controller with MPC production controls. The MPK88 draws on the design of the popular MPK49, the first keyboard ever to feature MPC pads. This first-of-its-kind keyboard is ideal for performance, starting with a premium, fully weighted, hammer-action keyboard, adding MPC pads, Q-Link controls, and a selection of MPC technologies. The MPK88 is born for the stage and is equally at home in the studio.

It features an 88-key keyboard and 16 genuine MPC pads. The hammer-action keyboard is fully weighted and features aftertouch for expressive melodic control. The MPC pads are pressure and velocity-sensitive to capture every nuance of your creative concepts. The pads can access four banks of sounds, so you have 64 samples at your fingertips with the touch of a button.

The MPK88 places dedicated transport controls within your reach for easy control of some of the most important tracking and editing controls. The MPK88 has modulation and pitch-bend wheels for expressive musicality, and two assignable footswitch inputs enable you to connect an expression pedal or other continuous controller and a footswitch for momentary controls like patch change or start/stop.

One of the most important input devices on an MPC is its Q-Link assignable control section. Akai Pro built a massive collection of Q-Links into the MPK series. The MPK88 gives you eight virtual knobs that are assignable to control nearly any software parameter. You can control three different parameters per knob thanks to the knobs’ three-bank selection, totaling 24 parameters of instant, hands-on control. Like the virtual knobs, eight virtual faders and eight virtual buttons also control three banks of parameters each, so you get 24 virtual faders and 24 virtual buttons. That’s 72 Q-Link controls!

The MPK88 is a MIDI controller that sends its MIDI values over USB. It is bus powered, so all you need to connect and power the MPK88 is the supplied USB cable. Because it is MIDI compliant, the MPK88 works with most MIDI recording, sequencing, and performance software for musical performers from keyboard players to producers to DJs and even VJs!

The MPK88 comes with Ableton Live Lite Akai Edition, 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.

More information about the product: Akai Professional

TC-Helicon introduced one of its latest products – the VoiceTone Harmony-G XT.

With improved harmony technology and the reverb taken from its big brother, VoiceLive 2, Harmony-G XT improves vocal tone and provides pro effects and vocal harmony controlled by naturally playing guitar.

Whether creating vocal harmonies that automatically follow guitar input, smoothing vocal performance with the live engineer effects or applying one of the 18 combinations of specifically tailored combinations of effects, Harmony-G XT can transform any vocal performance into a fully produced masterpiece.

New Features in VoiceTone Harmony-G XT:

• Improved NaturalPlay guitar-controlled harmony algorithm
• Front-of-house quality reverb algorithm and selection of styles from VoiceLive 2
• Selection of four overdub-style doubling effects with two more doubling voices available
• Reworked FX presets offer even more utility across music styles
• USB connection for easy software updates, tips, and preset backup using the included VoiceSupport applet
• Adaptive harmony gate added to Tone for a cleaner mix
• Easy manual selection of Scale & Key for singers without an instrument or horn players

Standard Features

• Some of the features that made the original Harmony-G such a success
• Listens to guitar and voice to create correct harmony parts automatically
• Tone switch smoothes vocals with adaptive Live Engineer Effects
• 18 combinations of reverb, delay, and ??mod shared by vocal and guitar input
• 10 presets available, each with A/B options
• Harmony interval selection includes 3rds and 5ths above and below, octave up and down, and the unique Bass interval
• Stereo or mono configurable output
• Clean, studio-quality mic preamp with phantom power and XLR input
• Guitar signal can be mixed in and share reverb or passed through to separate amplifier
• Fast, accurate guitar tuner

VoiceTone Harmony-G XT will be available in early December 2009 for $345.

More information: TC-Helicon

DVK Technologies introduced their latest product – the GNR8-130.

It is 130W powered stereo guitar amplifier cabinet, designed specifically for use with any DSP- or analog-based direct recording device or preamp.

The current crop of guitar modelling and effects units offer incredible realism and versatility to guitarists. Some of the most sought-after vintage tones and effects are now just a button push away. These incredible amp simulations are at our disposal for the first time without the prohibitive expense and bulk associated with classic hardware units.

The GNR8-130 deliver a full range frequency response system with headroom, dynamics, low distortion and the familiar feel and form of a guitar amp. Constrained layer cabinet design and construction ensures the closest possible neutral response. Whatever goes in, comes out a lot louder and unadulterated by amp and cabinet coloring. Tailored to be in line with the GNR8-130’s preamp and amp, 2 x 12″ specially selected full range speakers from Lorantz Audio Services (C304P/PA) have been employed to ensure accurate reproduction of any modeller. The flat response of the cabinet, coupled with the true sonic reproduction of the amp and speakers perfectly complements the quality of today’s top modelling devices.

The new GNR8-130 will be showcased along with the full range of DVK Technologies products at the NAMM 2010 International trade show.

For more information: DVK Technologies

Open Labs introduced SoundSlate – the ultimate virtual instrument player and hardware DAW for your keyboard workstation or MIDI controller, contained in a sexy 1U rackmountable case.

SoundSlate redefines music production and performance by incorporating Open Labs‘ music operating environment including the critically acclaimed virtual instrument host Riff, 8000+ of sounds and effects, a robust audio i/o, and a powerful computer core running Windows XP into a 1U-ultra compact case that packs a punch.

Technical specifications:

CPU
Intel® Core2 Duo ® (2.8GHz)

Memory
2 GB (upgradeable to 4GB)

Storage
500 Gigabyte (upgradeable to 2TB)

Drive
Slimline CD/DVD Burner

Connection
(8) USB 2.0 ports
(1) Gigabit (10/100/1000) Ethernet port
(2) DVI Video ports (1 DVI-I, 1 DVI-D)
(1) E-SATA port

Audio
Sample Rates: 44.1, 48, 96, 192kHz from internal crystal or externally supplied clock (no sample rate conversion)
Bit Depths: 24-bit I/O, 32-bit processing
E-MU E-DSP™ 32-bit DSP with 67-bit accumulator (double precision w/ 3 headroom bits)
Hardware-accelerated, 32-channel mixing, and multi-effects processing
Zero-latency direct hardware monitoring w/effects
ASIO 2.0, WDM/MME/DirectSound Drivers
EDI (E-MU Digital Interface) proprietary 64-channel audio link over CAT-5 cable
Anti-Pop speaker protection minimizes noise during power on/off
Ultra-low jitter, clock subsystem: < 1 ns in PLL mode (44.1kHz, Opt. S/PDIF Sync)

Analog Line Inputs (2)
Type: servo-balanced, DC-coupled, low-noise input circuitry
A/D converter: AK5394A
Level (software selectable):
- Professional: +4dBu nominal, 20dBu max (balanced)
- Consumer: -10dBV nominal, 6dBV max (unbalanced)
Frequency Response (20Hz – 20kHz): +/- .05dB
Dynamic Range (1kHz, A-weighted): 120dB
Signal-to-Noise Ratio (A-weighted): 120dB
THD+N (1kHz at -1dBFS): -110dB (.0003%)
Stereo Crosstalk (1kHz at -1dBFS): < -115dB

Analog Line Outputs (2)
Type: Balanced, low-noise, 3-pole low-pass differential filter
D/A converter: CS4398
Level (software selectable):
- Professional: +4dBu nominal, 20dBu max (balanced)
- Consumer: -10dBV nominal, 6dBV max (unbalanced)
Frequency Response (20Hz – 20kHz): + 0.0/-.35dB,
Dynamic Range (1kHz, A-weighted): 120dB
Signal-to-Noise Ratio (A-weighted): 120dB
THD+N (1kHz at -1dBFS): -105dB (.0006%)
Stereo Crosstalk (1kHz at -1dBFS): < -115dB

Digital I/O
S/PDIF:
- 2 in/2 out coaxial (transformer coupled)
- 2 in/2 out optical (software switched at ADAT)
- AES/EBU or S/PDIF format (software selectable)
ADAT:
- 8 channels, 24-bit @ 44.1/48kHz
- 4 channels, 24-bit @ 96kHz (S-MUX compatible)
- 2 channels, 24-bit @ 192kHz
MIDI:
- 1 in, 1 out

Synchronization
Internal crystal sync at 44.1, 48, 96, 192kHz
External sample rate sync via
- ADAT (44.1 – 192kHz)
- S/PDIF (opt. or coax 44.1 – 96kHz)

Power Supply
250 Watt Power Supply, Whisper Quiet Cooling Fans (Internal Chassis, Processor & Power Supply)

Dimensions:
19”(W) X 12”(D) X 1U(H)

More information: Open Labs

Brace Audio announced the shipping of the DWG1000-TX Digital Wireless Guitar System.

A breakthrough in wireless technology, the Brace DWG-1000 blows away traditional analog wireless systems and gives you something cables can’t: natural tone and freedom to roam the stage or control room.

Frequency response of 10Hz to 15kHz delivers thunderous lows and crystal-clear highs rivaling the most expensive audio cables without the static, pumping, breathing, and dropouts found in dynamics-destroying companding and other side effects of analog systems.  Brace Audio’s unique internal dome antenna design helps immensely for drop out avoidance and also prevents antenna breakage.

The DWG-1000 is rugged and a no-brainer to use. ALL™ Automatic Channel Selection and Locking transparently links the transmitter to the receiver the moment the units are powered on.  Depending upon conditions, up to twelve DWG-1000 Digital Wireless Systems can be used simultaneously onstage and up to six DWG-1000-TX transmitters can link to a single DWG-1000 receiver.

Operating at 2.4 GHz, the DWG-1000 includes a declaration of conformity, so you’ll never worry about their wireless being confiscated when traveling internationally and is certified for use in USA, Canada and the EU.

Transmitter:

*RF Output Power:  16 dBm
*Maximum Input Level:  2.75v peak to peak
*THD:  <2% @ 800 mV pp 1 kHz tone
*S/N Ratio:  more than 90 dB
*Battery Life:  5 hours (AA size battery)
*Output:  33mm, 1/8 in. mono Jack
*System gain: 1
*Frequency:  2.4 GHz, FHSS
*Input Impedance:  600K ohm
Operating Power Voltage:  3.0V Typical
Audio Frequency Response:  10 Hz – 15 kHz
Lower Battery Alert:  15 minutes of life left
Antenna:  Internal dome
Units operating at same time: 8-12

Receiver:
Frequency Type:  2.4 GHz, FHSS
Battery Life:  7 hours (AA size battery)

Product contains
1 Transmitter
1 Receiver
2 – 1/4″ to 1/8″ Guitar Cables
Belt Clip

More information: Brace Audio

Hinton Instruments has introduced their latest product – the SwitchMix.

It is actually a compact switched routing matrix for both audio and dc coupled control voltages. According to Hinton, the SwitchMix offers “all the advantages of pin matrices without the problems.”

SwitchMix may have balanced or unbalanced compatible inputs and outputs, extending its use beyond synthesizer patching to other audio routing applications including multitrack and effects routing and headphone mixes. The balanced inputs make it suitable for interfacing DAW sound cards into a synthesizer for Silent Way and Volta users.

Two Eurorack versions of the SMX8 are available, with or without front panel jacks. Rear connections are via DB25 sockets conforming to the Tascam balanced analogue pinout. The SMX8EJ (shown) has front panel 3.5mm unbalanced jacks for synthesizer connections and occupies 42HP of Eurorack space. The SMX8EB has balanced Bantam/TT jacks. Other combinations and custom normalling are possible.

Custom build options are available. Prices start from £399, EC orders received before 1st January 2010 will be charged with 15% VAT.

More information about the product: Hinton Instruments

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Gibson presented one of its latest guitars – the Buckethead Signature Les Paul model.

Each Buckethead Signature Les Paul is crafted from a two-piece maple top attached with ultra-strong Franklin Titebond 50 glue to a chambered mahogany body. This wood combination, one of the most legendary pairs in the history of the solid and semi-solid electric guitar, yields a “best of both worlds” tonal splendor.

Reflecting Buckethead’s continued departure from the norm, the Buckethead Signature Les Paul looks outwardly much like a slightly modified white Les Paul Standard, but had been made with an oversized, chambered body. The chambered mahogany back serves to minimize weight, while also adding tonal nuances to the guitar’s overall sound. Its high-gloss Alpine White finish is complimented with a stunning black and white 5 ply binding.

The Buckethead Signature Les Paul body woods present a combination of good clarity, definition and treble bite from the maple, and excellent depth and richness from the mahogany, elements found in the classic Les Paul Standard tone. The chambering adds a further dimension, increasing the complexity of this guitar’s tone, while also increasing its acoustic volume and sustain.

The neck of the Buckethead Signature Les Paul is constructed from a single piece of solid mahogany, and glued to the body at a 4-degree angle (pitch). Mahogany is a traditional neck wood and a long-time partner to many legendary Gibson guitars. It is prized for its combination of lightness and strength.

The Buckethead Signature Les Paul’s headstock is carefully angled at a tried-and-true 17 degrees, which increases pressure on the strings and helps them stay in the nut slots. An increase in string pressure also means there is no loss of string vibration between the nut and the tuners, which equals better sustain.

It is equipped with a Grade-A ebony fingerboard, which enhances note attack and articulation. A hard, dense, dark-black exotic wood, ebony has commonly been regarded as a deluxe, upgraded option on electric guitars, and has been used by Gibson in the past on the Les Paul Custom. Ebony is also extremely hard-wearing, and more resistant to humidity and climate and weather changes than many other fingerboard woods.

The Buckethead Signature Les Paul carries a single Volume control which comprises a 300k linear potentiometer for a smooth, natural roll off.

This unique guitar comes protected in one of Gibson’s durable black, hardshell cases with Gibson logo silk-screened across the front in white lettering.

It is available for 4311$ MSRP.

More information: Gibson