Archiv der Kategorie 'NAMM 2008'

Das Blog, das das neue DAS Blog ist.

Ja, richtig gelesen!
Es gibt ein neues DAS Blog – in Zukunft findet ihr dort den alltäglichen Wahnsinn aus der Pro-Audio-Welt und deren Umfeld. Neuer Server, neues System, neues Design, Facebook-Anbindung und und und…es wird heiß!

Als Eröffnungs-Special haben wir uns etwas ganz besonderes ausgedacht: Das SpektaKEL – den ultimativen Mikrofon Group Buy.
Das SpektaKEL

Durch den Umzug über ca. 500 Versionen war unsere Datenbank leider nicht so recht kompatibel, deshalb haben wir nur mal die letzten wichtigen Einträge mit in das neue Blog genommen – aber, keine Angst, dieses Blog hier bleibt bestehen! Wer also gerne in älteren Posts stöbern möchte, kann das hier nach wie vor tun.

Wir sehen uns drüben!

NAMM 2009: UAD2 Laptop

UAD2 Solo

Endlich kommt sie, die Express Card UAD2 für Laptops! Bilder gibt es noch nicht, doch das Innere (und der Preis) zählt:

Universal Audio today announced the creation of the UAD-2 Solo/Laptop, a compact ExpressCard version of their successful UAD-2 Solo DSP Accelerator card. The new Solo/Laptop DSP card brings Universal Audio’s world-class analog emulations–authenticated by Neve®, Roland®, SPL®, Moog®, and more–to laptop DAW users. The UAD-2 Solo/Laptop enables large, professional mixes on laptop DAWs without the need for cabling or power supply. It includes studio staples like UA’s 1176SE Compressor/Limiter, Pultec EQP-1A Equalizer, RealVerb Pro Room Modeler, and CS-1 Channel Strip, and offers access to the entire Powered Plug-In library.
The UAD-2 Solo/Laptop supports VST, AU and RTAS plug in formats on both MAC and PC. The UAD-2 Solo/Laptop will available at UA dealers worldwide in early Q2 at a MAP price of $499.

NAMM 2008: Oddities

Barry Woods veröffentlich seit 1998 die seltsamsten neuen Produkte von der NAMM auf seiner Seite Namm Oddities. Dieses Jahr war das Angebot an schönen Quatsch eher schmal, doch ein Paar Juwelen gab es schon, z.B. den Drummerventilator:


Doch mein Favorit ist VAM:


Was ist’s? Ein In-Ear Monitor für Menschen ohne Scham!

Oh Gott,

NAMM 2008: Anarchy Block

Anarchy Block

Das innovativste Produkt der Messe ist der „Anarchy Block“ von Pearl – ein Woodblock mit Pieksern und Anarchy „A“. Passend dazu auch die „Anarchy Cowbell“. Endlich können junge zornige Drummer ihre Wut auf alles auch über die Optik ihres Instrument Ausdruck verleihen – ein Privileg, welches sonst den Gitarristen vorbehalten blieb. Begrüßenswert!

Kunden, die dieses Produkt gekauft haben, haben auch folgende Produkte gekauft:

Boob Bong

Boob Bong

Kiss unplugged

Kiss „Unplugged“


Clearasil Ultra

NAMM 1986: American Soviets

Schönes Wochenende!

NAMM 2008: SSL-XLogic Buscompressor

SSL Module

SSLs X-Logic Rack-Reihe zählte im letzten Jahr zu den interessanten Neuentwicklungen auf der Messe (Videolink). Nun gibt es endlich auch den Buskompressor für die Racks, über den ich hier wohl keine Worte mehr verlieren muss. Dass neue Input-Modul hat auch eine spaßiges Feature: den von Phil Collins 80ies Platten bekannten Listen Mic Compressor, der so schön viel Bass klaut und alles Scheisse klingen läßt, was im Mix dann wieder verdammt gut klingt.

The Stereo Bus Compressor Module answers the clamor from customers for the audio legend that is the center section compressor from SSL G-Series Consoles to be made available for the X-Rack system. The module, which is the first double width module occupying two X-Rack slots, is a simple unit with a simple purpose; it makes complete mixes sound bigger, with more power, punch and drive. It brings cohesion and strength to the mix without compromising clarity. The Stereo Bus Compressor Module delivers the classic tonal characteristic of the G-Series Compressor but with the added benefit of the ultra high bandwidth, ultra low noise SuperAnalogue™ circuit design. The classic Threshold, Attack, Ratio, Release and Make Up controls make the module extremely simple to operate. True Stereo Side Chain Input is accompanied by a ‚link‘ feature that enables multiple Stereo Bus Compressor Modules to be combined for surround processing.

When loaded with Stereo Bus Compressor, 4 Input, 8 Input & Master Modules, X-Rack can now be configured as an exceptionally high quality analogue summing mixer with instant ‚audio glue‘ appeal that can breathe life and power into cold ‚inside the box‘ DAW mixes. Key features of the X-Rack Stereo Bus Compressor Module include:

* Classic sonic character and mix finalizing capabilities of SSL Stereo Bus Compression.
* True Stereo side-chain Input for external signal keying.
* Link control enables several modules to be combined for surround compression.
* Gain reduction meter as fitted to the classic SSL console range.
* Electronically balanced XLR connections.

The VHD Input Module combines some classic SSL heritage with a generous helping of cutting edge circuit design to deliver a devilishly warm and dirty alternative to the pure X-Rack Mic Amp Module. The VHD Input Module is based on the input section of the popular SSL E-Signature Channel 1U rack processor. The VHD Input module combines five key elements; a high bandwidth mic amp stage that can handle mic, instrument or line inputs, SSL’s innovative Variable Harmonic Drive circuit, an additional line input/trim control section, a set of High and Low Pass Filters and the classic Listen Mic Compressor.

SSL’s unique VHD system is a 100% analogue circuit that adds a variable blend of 2nd or 3rd harmonic distortion to your signal. At relatively low input gain settings ‚VHD‘ preamps deliver ultra-clean recordings. Increase the input gain and adjust the VHD control and the user can inject his source recordings with anything from ’50s valve-style overdrive through to hard-edged ’70s transistor-style grit or any blend of the two.

When loaded with Mic Input, VHD Input, EQ and Dynamics Modules, X-Rack can now be configured as an exceptionally high quality and extremely versatile recording and processing system to serve as the perfect front end with the capacity to add analogue shimmer to potentially cold DAW recordings.

Key features of the X-Rack VHD Input Module include:

* Electronically balanced ultra high bandwidth Mic input with +20dB to +70dB gain control and phantom power
* Hi-Z and Pad Switches on Mic Amp Input.
* Dedicated Additional XLR Line Input.
* Variable Harmonic Drive circuit; adds a controllable blend of 2nd or 3rd Harmonic distortion.
* Dedicated Trim control after the VHD stage.
* Classic Listen Mic Compressor with fixed attack and release curves, ideal for drums.
* High and Low Pass Filters.

Based on SuperAnalogue™ electronics from SSL’s XL 9000 K Series console, X-Rack is a modular rack system with Total Recall™ that delivers the classic SSL sound in a uniquely versatile form. Each X-Rack chassis holds up to eight modules in any configuration; with the introduction of these new modules eight different modules are offered. The hugely popular X-Rack delivers the very highest-quality analogue recording and summing path and is the perfect configurable solution for studio or live applications.

In the words of SSL Director of Product Marketing Niall Feldman, „The release of these new modules takes the evolution of the X-Rack system to a new level of versatility. X-Rack has caught the wave of understanding out there of the vital role of analogue depth in the often clinical modern DAW powered studio. The Stereo Bus Compressor Module makes X-Rack the must have analogue summing solution that will breathe depth and power into mixes. The VHD Input Module expands the power of X-Rack as a tracking system, bringing a collection of controllable warmth and grit characteristics to the recording engineer’s palette that will really make sounds cut through a mix.“

NAMM 2008: AKAI XR20


Zeitgleich mit dem AKAI-Godzilla kommt der kleine Mothra auf den Markt. Leicht und Batterie-gepowert kann man damit ähnlich der MPC 500 unterwegs produzieren.

Over 700 pre-loaded sounds, and an integrated effects engine for Reverb, EQ and Compression put you in full control of your beat production. A microphone input is even included for mixing vocals with your patterns. Brilliant backlit pads provide visual cues for added beat precision.

The XR20 features sounds of standard and electronic drums, single (one-shot) hits, bass and synth sounds to easily create your maximum mix in minimal time.

* Backlit LCD
* Bright, glowing, backlit pads that follow the beat
* Microphone input and Headphone output
* Pattern Play Mode – Different patterns can be triggered from individual pads
* Drum Roll / Note Repeat feature for realism and expression
* Battery Power capability and AC Adapter

Preis: a.A.
Hier vorbestellen

NAMM 2008: Access Atomizer

So, jetzt brauch ich auch so einen Flockensynth: Access bauen einen Realtime-Audioslicer in ihre Virus TI/Snow Synthesizer ein, und das für lau mit einem der nächsten OS-Updates! Wie cool ist das denn?!?!?!

Access Music shows a technology preview of Atomizer on the winter NAMM show in Anaheim, California. Atomizer allows you slice and dice audio in realtime using a MIDI keyboard. Ser effects were made famous by artists including Aphex Twin, Trentemoeller, Squarepusher, BT and many others. In order to create those effects they either had to chop audio regions by hand or use semi-automatic plug-ins (which don‘t necessarily give you a great deal of control since they are intended to create random results). Atomizer works in a totally different way — once sync‘ed to tempo you can play those slices in realtime, so you can virtually chop up your singer’s voice while he’s performing or add unique effects to your DJ set. You can record the slicing process into your sequencer and edit it later along with the rest of your song. You can remix in realtime as well, with the modulation wheel becoming an intelligent cross-fader, while the pitch-wheel lets you change the pitch by approximately 4 octaves. And there are tons of effects including sample rate and bit rate reduction algorithms which, again, can be used in realtime and become a part of your performance.

NAMM 2008: Spectrasonics Omnisphere


Den Preis für die aufwändigste Vapourware gewinnt Spectrasonics mit ihrer extrem elaborierten Kampagne zu ihrer neuen Dampflok STEAM-Synthesizer Omnisphere. Checkt allein mal die Preview. Ganz schön viel Dampf für ein Plug-In, dass erst in 8 Monaten erscheint. Und welcher Marketing-Guru hat sich bitteschön den Begriff „Power Synth“ einfallen lassen?
Genug Dampf abgelassen (oh my God he went that far), ich bin gespannt auf die ersten Demos! Public-Beta? Bitte ja?

JANUARY 2008 — After many years of development, Spectrasonics previewed their brand new flagship virtual instrument Omnisphere® at the Winter NAMM show. The revolutionary ‘Power Synth’ breaks completely new sonic ground by combining a wide variety of hybrid realtime synthesis techniques, an epic library of remarkable ‘Psychoacoustic’ sounds, and many innovative features that have never been seen before in any hardware or software synthesizer. The new instrument is the first to be based on Spectrasonics STEAM Engine, the company’s newly developed core technology. Omnisphere is set to be released September 15, 2008, the MSRP is $499 US and 399 Euro.

Acclaimed virtual instrument developer Spectrasonics, debuted its new ‘STEAM Engine’ core technology at the Winter 2008 NAMM show. The new software, created by the company’s in-house development team, will be used as the basis of all future Spectrasonics performance instruments, just as its core S.A.G.E. technology is used for groove-based instruments like the popular Stylus RMX. STEAM is important to Spectrasonics future because it completes the technology transition from earlier performance virtual instruments that were based on the licensed UVI Engine.

Virtual instruments built with the multitimbral STEAM Engine offer many development possibilities into a variety of hybrid synthesis and control capabilities including high-resolution Streaming Sample Playback, Integrated FX, Variable Waveshape synthesis, Granular synthesis, FM synthesis, polyphonic Ring Modulation, Timbre Shifting, and a comprehensive Flex-Mod™ modulation routing system, to name a few.

“The STEAM Engine core technology gives us the ability to respond to other technology changes like the Intel-Mac shift from Apple, 64-bit computing, or a major new operating system,” said Eric Persing, Founder and Creative Director of Spectrasonics.  “The new in-house technology will allow us to create instruments that we can fully support across industry changes and allow us to make innovations and transitions faster in the future. For example, just as Stylus RMX being based on our S.A.G.E. technology made possible the early compatibility with Apple’s Intel-Macs, new instruments based on STEAM technology will make transitions like this easier on our customers.”

Virtual instruments powered by STEAM also have unlimited expansion possibilities. The new core software is flexible and open – allowing patches to be shared across hosts and computer platforms. Spectrasonics can also add new patches and sounds to the core library giving the user an ever-expanding sonic palette. In addition, all Spectrasonics virtual instruments based on S.A.G.E. and STEAM technologies can interact in musically useful and innovative ways for a smoother creative flow.

The first virtual instrument built with the STEAM Engine, Omnisphere®, is set to be released September 15, 2008, and has a suggested retail price of $499 US. Future STEAM-based instruments are TBA.

NAMM 2008: AKAI MPC 5000


Its getting bigger every day: die geliebte MPC wird zu einem Monster der Audioproduktion. Wer sich Godzilla ins Studio holen will, ist damit bestens beraten, sollte aber auch durchaus bereit sein, für die Schäden im Geldbeutel aufzukommen.

The MPC series set the standard for beat production. What would it take to make the ultimate MPC? Dozens of engineers, 20 years of experience and a new synth and drum sampling engine unlike any MPC ever. Introducing the MPC5000; the new standard for music production.

The MPC5000 is the first MPC ever to include 8-track streaming hard disk recording, a 20-voice, 3-oscillator analog synthesizer with arpeggiator, a new sequencing engine with 960 ppq resolution, pad and track muting and mixing, 64 continuous sample tracks. There’s even a new FX engine with 4 FX buses and 2FX per bus.

In addition, the MPC5000 features a 64-voice drum/phrase sampler with 64MB memory Ð expandable up to 192MB. The display is twice the size of the MPC2500 and MPC1000 so waveforms appear crystal-clear. Integrated Chop Shop 2.0 now supports stereo chops and Patched Phrases. The MPC5000 is the first MPC to include Random and Cycle sample playback in addition to velocity Zone Play. A turntable preamp is also included.

The MPC5000’s virtual analog synth eliminates need for external analog synth modules or buggy software based synthesizers. The new 8-track direct to disk recorder lets you produce your whole song in the MPC and then mix it down with the internal sequenced programs and any input thru material. Add the optional CD/DVD drive and you can then burn an audio or data CD or your mix. Over 650MB of premium-quality sounds from Loopmasters are included to get you up and running with pro-quality production in seconds.

Preis: happig, doch bei uns bald sicher durchaus günstig. ;-)

NAMM 2008: SSL Duende Mini

Duende Mini

Die Welt wird immer schöner für Laptopproduzenten wie mich: SSL packen ihr fantastisch klingendes Duende-System in eine kleineres Gehäuse. Leider halbiert sich dadurch die Anzahl der Kanäle, die man mit SSL-Effekten verschönern kann auf 16, doch es gibt eine Upgrade-Optionauf 32. Und wer wie wir schonmal das große Gerät in den CD-ROM Slot eines AUDIOKERN gequescht hat, weiss, das Größe echt nicht alles ist.

Duende puts the legendary SSL sound within your DAW and Duende Mini makes owning your own slice of SSL sonic magic more affordable and portable than ever. Mini is a stylish little ‘one third rack width’, all metal construction, desktop box that hooks up to your computer via Firewire. This compact rugged unit is ideal for small studios or laptop based DAW users. Mini makes a stack of DSP processing power available to drive up to 16 mono channels of plug-in processing (at sample rates up to 96khz) within your host application. Duende Mini is upgradeable to 32 channels of processing power and you can run two Duende units on a single computer system for up to 64 channels of processing.

Duende is based on the powerful DSP technology behind SSL’s acclaimed C-Series digital consoles and Mini ships with the ‘EQ and Dynamics Channel’, a plug-in developed by SSL to provide an EQ & Dynamics processing solution with all the power and processing flexibility of an SSL console channel.

Key Features
The legendary sound of SSL for your digital audio workstation
16 channels of console-grade SSL EQ and Dynamics processing (upgradeable to 32)
Powerful DSP engine based on SSL’s award-winning C Series mixing consoles
Relieves the plug-in processing burden on your computer’s CPU
Single FireWire connection for fast set-up
Run two Duende Minis for up to 64 channels of processing

Preis: a.A.
Hier vorbestellen

Danke Dezzo!

NAMM 2008: URS Saturation Plug-In

URS Saturation

I love URS! Alle ihre Plugins sind Pflichtkäufe, so auch dieser Saturator. Get it solange es nur 199$ anstatt 249$ kostet – am liebsten natürlich über uns. 8-)

The URS Saturation plug-in digitally recreates four different and distinct pre amplifiers each featuring: a different type of input stage saturation, even and odd ordered harmonics and soft clipping. The initial four Mic Pre Amplifiers models include:
Class A Tube Mic Pre Amplifier – Vintage Motorcity
Class A Tube Mic Pre Amplifier – German
Class A Discrete Pre Amplifier – British
Class A Discrete JFet Pre Amplifier – Modern

URS Saturation plug-in

Try the different URS Saturation algorithms on all your favorite tracks – Drums, Guitars, Bass, Keyboards and Vocals. Hear the added warmth!

About each model:
Class A Tube Mic Pre Amplifier – MotorCity
This algorithm digitally recreates the characteristics of a American tube mic pre amplifier that was popular in recording studios during the 1960’s Motown era. Setting the drive control higher will add desired harmonics and tube soft clipping for a much more pronounced effect.

Class A Tube Mic Pre Amplifier – German
This algorithm digitally recreates a German tube mic pre amplifier that was popular in European recording studios during early 1960’s Beatles era. This type of tube pre amplifier is coveted for it’s unique distortion, presence and authority in the treble ranges.

Class A Discrete Mic Pre Amplifier – British
This algorithm digitally recreates the sought after classic British console all discrete mic pre saturation. This vintage amplifier was also used for the console’s summing buss amplifiers. The added harmonics create the edge that is desired in both Rock and R&B music.

Class A Discrete JFet Mic Pre Amplifier – Modern
This algorithm digitally recreates a modern JFet mic pre amplifier that comes the closest of any discrete device to tube saturation. Although similar to a tube it has its own unique harmonic structure and sound.

Mix blend Control
Allows you to blend the right amount of Saturation with your source material. No need to use an additional parallel track or Aux send to get blend effects. At the 100 % Wet setting the Mix Blend Control is disabled.

Adjustable output control
The URS Saturation plug-in features an adjustable output control after the Mix Blend control to balance the final effect with your insert chain.

Plasma Style VU metering
Allows you to view both the input and output signal. The phenomena of added harmonics, soft clipping and saturation is that it sounds louder even when the meters do not indicate changes in level.

High Res 64 bit Floating point „Double Precision“ processing
The URS Saturation plug-in Hi Resolution 64-bit floating point „Double Precision“ processing for increased clarity and headroom. Why mention this clarity for a plug-in that reduces saturation?
Because, we designed the URS Saturation plug-in to reproduce Analog style saturation not Digital!

Native Support only
The URS Saturation plug-in currently supports Audio Units and VST for both Mac OSX.
RTAS is currently supported with a VST to RTAS Wrapper only (not included).

TDM Support Planned
A TDM version is planned and will be released at a later time for an additional charge.

Pro Tools 7.x.x and Leopard OSX 10.5.1 compatibility
Pro Tools 7.x.x and Tiger OSX 10.4.x compatibility
Pro Tools 6.9.2 and Tiger OSX 10.4.6 compatibility
Pro Tools 6.9.2 and Panther OSX 10.4.6 compatibility
Pro Tools 6.7 and Panther OSX 10.3.9 compatibility
Pro Tools 6.2.3 and Jaguar 10.2.8 compatibility
Pro Tools M-Powered version 7.x.x compatibility
Full 192 kHz support
Logic Studio 8.x, Logic Audio 7.x, Digital Performer 5.x, Cubase, Nuendo, Bias Peak, Abelton Live – fully supported for Mac OSX Leopard 10.5.x and Tiger 10.4.x.
Full ProControl, Control|24, Command|8 and Digi 002 support
Full ICON Console Control Surface support — including center section Dynamics panel
Supports Mbox, Digi 001, Digi 002, Digi 002 Rack, Pro Tools|24 MIX, Pro Tools|HD and Pro Tools|HD Accel and M-Audio Interfaces.
URS Saturation Specifications
Input Level Control
Output Level Control
Drive 0-100%
Mix Blend Control – Wet / Dry Saturation effect
In / Out Bypass switch
Phase Reverse switch
Plasma Style Input and Output VU Meters



Und nun endlich Futter für die Gearslutz unter euch: der ANAMOD AM660 – eine Rekreation des Fairchild-Limiters im Serie 500 Format. Das will ich unbedingt testen! Schade nur, dass ich keinen Original-Fairchild bei mir rumstehen hab ;-) !
Es war nie eine schönere Zeit, sich eine Lunchbox zu holen und sie mit fantastischem Gerät vollzustopfen! Checkt unser Special dazu hier.

The Fairchild 660 limiter is arguably one of the most famous and sought-after compressors ever made. The magical way it adds density and dimension to a track or a mix has been demonstrated on many of the best-sounding records made in the last 50 years.

The AM660 is a faithful recreation of the classic sound and compression profile of the 660, using the AnaMod™ process to model the complex tube circuitry of the 660 and implement it entirely in the analog domain. Unlike a digital plug-in or processor based outboard gear, there is no latency, and no A/D or D/A conversions to compromise the sound.

AM 660 Specifications

Input Impedance: 20KΩ, balanced
Output Impedance: less than 50Ω
Max. Output Level: +27dBu, balanced
Input Gain: -20 to +20 dB
Frequency Response: +/- 1 dB from 40Hz to 15kHz
Noise Level: better than 73dB below +4dBu, 0-30kHz
Limiting Noises: same level as a vintage 660 with GE five star 6386 tubes and properly balanced
Total Harmonic Distortion: level- and compression-dependent
Compression Ratio: Variable from 1: 1 to 20:1, level-dependent

NAMM 2008: Moog Multi-Pedal


Freakading ick hör dir trapsen – ein Fußpedal von MOOG, das MIDI und CV ausspuckt! Damit kann man Tempo-Gesyncte LFO-Sweeps an seine analoge Kisten weitergeben, ohne die Hände zu benutzen! Find ich super, bin gespannt auf den Preis! Sonst gibt’s von Moog noch eine Old-School Edition des Voyagers, was man sich darunter wohl vorstellen mag? Stay tuned!

MP-201 Multi-Pedal

The Multi-Pedal is a programmable four channel CV/MIDI foot pedal controller. It has four analog control outputs, MIDI In & Out and USB connectivity (MIDI over USB). It can transmit controller information on up to 4 MIDI channels and CV outputs simultaneously.

Each CV output can be programmed individually. Signals can be foot pedal controlled analog control voltages with +/-5V limits, LFO waveforms or GATE voltages (0V=Off,+5V=ON). In addition, each channel can output MIDI CC’s over specified MIDI channels simultaneously with the analog CV outputs.

Output Signals:

- LFO of user programmed RATE, AMOUNT and WAVEFORM (triangle, square, sawtooth, ramp and sample & hold)
- A random NOISE CV
- The footpedal voltage with user selected heel and toe voltages (including reverse action)
- Preset Voltage levels
- LFO signals are scalable and can be synced to MIDI clock, tap tempo, each other, or free-running.

There are five modes of operation:

Single Channel Mode, Quad Channel Mode, Preset Mode, Edit Mode, and Utilities Mode.

Single Channel Mode uses the footswitches to select programs, channels, turn on/off channels, select tap tempo function, enter tap tempo.

Quad Channel Mode turns channels 1-4 on/off with footswitches 1-4 and uses the footpedal as an expression pedal for channels 1 to 4 simultaneously.

Preset Mode defines the user programmable presets. A collection of 4 programmed channels is a preset and there are 100 editable presets.

Edit Mode programs the preset mode.

Utilities Mode accesses the utilities menu for non-preset related functions (SysEx Dump, Upgrade firmware, Factory Restore, Footpedal Calibration, etc…)

Multipedal Control Elements:

Optical “Gas Pedal” style foot controller

4 footswitches (momentary)

4 LEDs, 1 for each footswitch.16×2 character LCD (Gray Background, transflective, white LED


Rotary Encoder with push switch (VALUE, CURSOR)

2 Momentary switches near LCD / Encoder (EDIT, STORE)

Rear Panel Connections:

USB Port (MIDI over USB)

MIDI In, MIDI Out DIN connectors

4 x CV Out ¼” TRS connectors (-5V to 5V & 0V to 5V options)

Power in (wall mount power supply included)

Preis: a.A.
Vorbestellen hier

Look Mum, no hands!

NAMM 2008: NOVATION Nocturn Controller

Novation Nocturn


Aaaaah, endlich was Feines! Als Ableton/Cubase-User war ich begeistert von den Automapping-Features der Remote SL Serie (ihr Logic User da draußen wohl leider eher nicht), die bei mir auf Anhieb funzten. Jetzt gibt es Automapping 2, das wie ein Eurofighter-Style „Heads-Up“ Display funktionieren soll. Das heißt, ihr seht sofort, welcher der Endlos-Drehregler mit was belegt ist mittels einer Schablone über dem aktiven Plug-In. Klingt super, wie funktioniert werden wir testen! Der neue Nocturn-Controller, von dem ihr hier ein CAD-Mockup seht, könnte eine gute Alternative zu den Firefox-Kisten werden.

Featuring the latest Automap Universal 2.0 software, exclusive to Novation controllers, Nocturn provides automatic, instant and intelligent control of all automatable plug-ins within every major sequencer, including Pro Tools.

Nocturn features eight touch-sensitive rotary encoders, each equipped with a bright eleven-LED ring (ideal for laptop DJ’ing in a dark club environment). These are accompanied by eight user-assignable illuminated buttons and a smooth, professional 45mm cross-fader. The finishing touch is Novation’s unique ‘speed dial’; a touch-sensitive rotary encoder that instantly takes control of whatever your mouse is focused on!

Featuring a revolutionary new ‚heads-up transparent control GUI‘, Automap Universal 2.0 places a transparent control map across your computer screen, to be recalled or hidden at will. Little or no user setup is required, and plug-in control can be customized to be laid out just the way you like it, no matter what music software you use. Simply boot up the plug-in, and you’ll see at a glance how the parameters are automatically assigned to each of Nocturn’s controls. An instant click and control ‘learn’ function is also available for quick re-assigning of controls, or for creating your own controller map in seconds. Multiple page options mean that you can assign a potentially infinite number of parameters for each plug-in.

Automap Universal 2.0 also categorises all your control maps. A simple browsing facility lets you review all open plug-ins, then quickly switch to control any one of them. Automap Universal 2.0 also supports standard MIDI protocol, providing the same heads-up display for quick and simple assigning of MIDI parameters. This ensures that Nocturn can also control an external hardware MIDI device, any non-automatable plug-ins, or the mixer page in your sequencer. Once a ‘MIDI map’ is created, it can be saved and recalled via the same map browsing facility. A growing library of maps will be available to download free from

Nocturn’s spacious and tactile control surface, side mounted USB socket and ultra-low profile allow it to sit neatly in front of your QWERTY keyboard. Large, rugged rubber grips hold it steady whilst you let rip with your favourite music software.

The combination of Automap Universal 2.0’s heads-up transparent control GUI and Nocturn’s touch-sensitive dials remove the pain inherent in controlling multiple instruments and effects, allowing you to jump instantly from one plug-in to the next; so you’re free to focus on what matter most – your music.

Nocturn is due to ship worldwide in Q1, 2008

Preis: UVP: 99EUR

Vorbestellen hier

via Gearjunkies