One of the big announcements before the show was Korg’s new clone of the ARP Odyssey. It was up there with the Moog Modular and Sequential Prophet 6. So I had to see and play this one for myself.
Like most of Korg’s recent reissues of classic analog instruments, this version of the ARP Odyssey is about 80% the size of the originally. I’m not sure what it is with Korg making things “just a little smaller” than the original. But it did have the sound of the original – I tried, somewhat poorly, to play some lines from Head Hunters. And I was happy to see that had the original industrial design, including the Helvetica-style red lettering on black background that remains very distinctive. It would be interesting to play this along side my vintage Octave CAT. At just under $1000, it’s even possible one day.
Another new offering from Korg this year was the MS20-M kit, a kit variation on the MS-20. It was paired with the new and very compact SQ-1 CV sequencer.
The MS-20M has no keyboard, but that’s not much of an impediment as one can control it via external CV.
At the small end of the spectrum there was the LittleBits SynthKit, a collaboration between Korg and LittleBits. We actually have one of these kits at CatSynth HQ.
A trip to NAMM always includes a visit to the booth of Big City Music. As always there was a mixture of old favorites (e.g.,an entire collection of Metasonix modules in a matching yellow case, the Mellotron, etc.), as well as new and unusual things. Upon arrival I was greeted by this rack containing Intellijel synth modules and a Mellotron rack-mount unit.
This the digital Mellotron M4000D in rack-mount unit. It sounds like the classic Mellotron in a unit that is more practical for live gigging or integration into a studio setup. Of course, there are no tapes in this one.
The polyphonic analog synthesizer from Schmidt was on display and I had a chance to play it.
This thing is a beast! Beyond the polyphony, it has four oscillators and seven filters per voice. Quite feature rich and very playable. But it’s price is this instrument’s most infamous feature. It comes in at about $20K USD, similar to the price one might pay for the car to schlep it around in.
This odd but intriguing electromagnetic contraption was from boutique manufacturer Analog Outfitters. We still have no idea what it does.
And of course there were lots of large modular installations, including this “Wall of Cwejman.”
It’s a dangerous booth to visit, as I start to get purchase ideas…
The Muff Wiggler Store was onsite at NAMM this year, hosting quite a few module makers whose work I had not encountered before.
These eye-catching modules from Minigorille have graphic screens (an unusual feature for a Eurorack module) for manipulating control voltage. It includes several programs such as a pong-like game and an XY freehand drawing unit, and has an expander for input from a handheld controller.
Next was the rather psychedelic Circuit Shaman, featuring modules with purple knobs and colorful LEDs, all to be viewed through distorting rainbow glasses.
The flagship module was the Spectra Mirror, a resonant down-sampler with a variety of controllable parameters allowing it to sound like a clean VCA, a bit-crusher and various things in between such as downsampling the signal with a high-pass filter. It would be interesting to run the shape controls through an LFO, or through the Minigorille module.
While not in Eurorack format, this complete system in Moog format from Synthetic Sound Labs was quite playable, and included a newly released Steiner filter.
There was a lot more at the booth, some old some new, but more than I am able to cover in this article. Visit the Muff Wiggler Store to find more, including some you may have never heard of before.
Our friends at Make Noise were back at NAMM this year including a few new modules. The Telharmonic is a 3-voice additive synthesizer with a variety of controls including spectral centroid, triads quantized to scales, a more. This module is another collaboration between Make Noise and Tom Erbe of Soundhack.
You can see a bit of the Telharmonic in action in this video. Our little mascot gets a starring role 🙂
Make Noise also introduced the Fixed Filter, and the RxMx which pairs with it to do all sorts of interesting gate-like effects.
The RxMx is expected to be available soon after NAMM, but no word on the release date for the Telharmonic. Both are intriguing enough to consider for the collection.
Buchla introduced several new instruments and add-ons this year, including an entirely new modular series, the 200h. The 200h aims to be a more compact (and hopefully lower cost) series of modules, but the same esoteric sound and control that make Buchla instruments infamous. They have been assembled into “mini-systems” including the LEM3 Spider shown below.
That colorful circular thing is actually a 200e series, specifically a 252e polyphonic rhythm generator. It is visually gorgeous!
Here is a short video of my attempts to play the LEMs.
Moog Music seems to have a bigger presence and NAMM every year. This time they had a large enclosed space complete with retro neon signs.
But that merely prepared the way for what was inside. The centerpiece and main attraction was the reintroduced Moog Modular.
There was quite a bit of excitement with the news about the modular. Besides being huge and impressive, it also boasts simple and easy to control modules with distinctively Moog sound.
While some sounds that one could get out of the demo system reminded me of the Minimoog, it was a different instrument. It is a modular, so the combinations can go quite distant from the classic Minimoog subtractive sound. Since the modules are fairly basic in terms of function compared to the recent Eurorack modular releases, it does take quite a few to make a patch. The larger size of the modules and knobs does make it easy to handle and play. But it is probably more of a studio instrument than a live instruments (especially with the high price tag).
More down-to-earth but perhaps odder was the Moog Werkstatt, a tiny patchable synth with Moog sound that interoperates nicely with Eurorack systems.
This one is indeed something for live use. I’d love to see how it works together with the Theremini. It does make some weird crunchy sounds, and would make a great first stage of a modular in between the Theremini as controller and various Eurorack modules as post processing.
In between, Moog does continue to provide its “Phatty” line, including the Moog Sub 37. These are quite practical to get a Moog sound for live-stage situations.
Of course there was quite a crowd to see the Modular. We at CatSynth certainly wish them well with the new instruments and exposure.
Our first stop at NAMM 2015 was Dave Smith Instruments. And they certainly had big news, with both the acquisition of the legendary Sequential Circuits (aka “SEQUENTIAL”) brand name and their first instrument under the new name, the Prophet 6.
We were able to talk with Dave Smith himself about the “new old name” and the new instrument.
The Prophet 6 itself is quite a sight. It includes the industrial design, lettering and other features from the Prophet V, and includes custom component based VCOs and analog filters.
It has a rich sound that ranges from the lusciousness of the Prophet 12 to the nastiness of the Evolver, though it doesn’t really do the same things as either of those instruments. As described in the video, it doesn’t have the complexity and feature set of the Prophet 12, but it’s not intended to. It is it’s own creature, and probably best as a lead synth used in conjunction with others. And it was definitely fun to play.
It does appear that both the Dave Smith Instruments and Sequential brands will be used on future offerings, which we look forward to seeing and hearing.
Analog-module makers WMD had a strong presence at this year’s NAMM show. In addition to their existing offerings, which include both utility and more esoteric modules, they presented a set of devices that were jointly made with Steady State Fate (SSF). You can see a demo in this video.
It was fun how they made Zip, our trusty stuffed kitty, rock out to the modular 🙂
Once again, iPad docs were a popular offering at NAMM. Perhaps the most unusual and interesting was from Miselu, a small San Francisco-based company. The C.24 acts as a hard-shell case for a standard-size iPad, but opens up into a dock with a two-octave keyboard and other controls.
The keys, which feel quite different from standard keyboard/synth keys, are magnetic rather than mechanical, and include aftertouch. The connection to the iPad is via bluetooth, bypassing the issue of Apple’s changing the port shapes. And it includes a space for expansion controllers above the keyboard. This is an intriguing device, though it is not yet available.
The iTrack from Focusright is perhaps more conventional in the world of iPad docks. But what makes it different is that can support both iPad Minis and full-sized iPads.
It also includes audio support based on Focusrite audio technology and with mic and line level I/O. MIDI is supported via USB.
Both of these are interesting devices, it depends on ones need for portability and MIDI keyboard versus audio support.