I thought the same when I saw the picture. Hilarious.
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OK, i do have Hydrasynth in my profile, so a link from me to the Sonic State interview with Glen Darcey, is to be expected. He shows off the booth, and talks about the challenges of keeping their complete line up in stock worldwide – they have done a good job at that – along with doing new product engineering in China, all in a lockdown. No detail on what the new product is exactly, but this is the firmest i’ve heard him say, it’s on the way. Perhaps there would have been a new product in their booth for them to show if times had been more regular.
And I do look forward to getting a t-shirt.
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Have seen almost nothing new from Namm 2022 here. Is there almost no product being announced or is it not updated here?
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Why is Namm so preoccupied with Guitars? Its been done to death over the years.
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The groovebox is… kind of weirdly cool?
I feel like in addition to being featured on Bad Gear in the future it will also be wildly collectible, probably after a Magpie circuit bending video.
Edit: Oh no I just listened to the video good god it’s awful
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MyTracks Groovestation from Playtime Engineering
They certainly are aiming this at children, but also at adults who wouldn’t necessarily be playing electronic instruments but who may more casually have this on their coffee table more as recreation and just for fun. It has the sample sounds plus one track of MIDI out.
Their other products get a mention toward the end of the video.
Their products are tested for safety for 3 and up.
Definitely slower for brand new stuff, which mostly got shown at Superbooth. So look back at that stuff for the endorphin rush.
New in hardware at NAMM :
- NINA from Melbourne Instruments
- 3rd Wave from Groove Synthesis
- BEATS FM from X Audio ( Technically not at the show )
- West Pest from Cre8audio
- Novation Launchkey 88 MK3
- MRCC µ88 from Conductive Labs
- Podcast stations from Focusrite, and Rode
There is software stuff too.
Also important is the audio transport specification for MIDI 2.0 put out by the MIDI Association !
I want to see more of the other smaller announcements like what’s happening with Osmose, and some more of the background sort of product stuff.
And plenty of the guitar stuff of course.
What did i miss ?
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Interview with Tom Oberheim and Marcus Ryle. They talk about the OB-X8 and of course Dave. Looks like J3PO was playing the synth.
The pad around 35 seconds in not only took care of my hangover, but resurrected all the dead pet goldfish from my childhood. This thing sounds great.
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I bought their Blipblox After Dark (also mentioned in the video) on sale, almost on impulse, for my daughter’s kid, and kept it a few weeks before sending it on. It’s quite well made and a lot of thought went into the design. I was surprised; it doesn’t sound like a toy (there’s a good Oscillator Sink video on it). The kid loves it! I hope to visit them soon and will take along a MIDI keyboard to use with it. Of course, the MyTracks is a different device, and the devil is in the details, but I wouldn’t dismiss it because of its looks or target audience.
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Big thanks Jukka for your answer! Will Namm be back in January as usual 2023? Seems like Superbooth stole the show this year.
Are Midi 2.0 released now?
The spec mostly is, but it is being tested and finalized. Expect it to change as devices enter the arena.
Just watched a Sonic State video interview, links in a moment, where the first guy interviewed says to expect devices end of this year, beginning of next, and stretching out for more comprehensive adoption over the next 5 years. So that is his projection for how this change will be incremental.
The good news is you can still use MIDI 1.0, blended with 2.0 through the transition.
Consumers can speed things along, by buying good and useful devices, with MIDI 2.0, and let manufacturers know we want the improvements and new features.
Warning : This video is pretty boring, at least for most viewers.
ADDED : The Bome Box now has MIDI 2.0 update.
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At NAMM, I tried the Dexibell S1, 68-key stage piano. It has a Fatar keybed. It starts with a low-A, which is really cool. In its default state, the low A is an octave higher than the low-A on a piano. If I owned it, I I’d set the octave down and sacrifice the very highest notes on the keyboard, the ones I tend not to play anyway on the piano.
Dexibell had a couple newer models with an updated Fatar keybed, but I actually liked the feel and touch of the S1 (which is not a new product, introduced in 2018).
I complained to the rep about the velocity sensitivity. My playing tends to gravitate either to very slow-velocity key-presses or to stabbing quick key-presses. The low velocity notes I played got lost in the din of the convention hall and the high-velocity notes notes triggered the brighter, more percussive sounds. So, finding the center velocity values was difficult. I read another review of the product that said the same thing.
The rep accessed the velocity settings, but he was unable to adjust them to my satisfaction. I would have to play around with the velocity sensitivity if I owned the S1, and I’d have to develop a new technique of playing to better control velocity.
I own an 88-key Yamaha weighted action keyboard. The action is okay, easy to control, but for some reason, playing it for too long kind of tires my hands out in a way a real piano does not.
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Ive tried most weighted keyboards Nords Stage 3 88 and Studiologic etc . They all fatigue my fingers that doesnt happen on proper pianos(well not the pub ones :). Ive resigned myself that it doesnt exist. Use the real piano i have or make do with anything for daw work with Spectrasonics keyscape.
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Just to clarify, the Dexibell Vivo S1, Fatar keyboard is very lightly weighted, nowhere near a normal “weighted” keyboard, but distinctly different from a springy synth action. I liked the touch and feel of it, and I don’t think the keyboard would ever tire me out. And the sounds were awesome.
As a mentioned above, the control of velocity is tricky. I have a similar problem on my Yamaha Reface. I bring it into some classrooms without pianos to accompany the kids. I tend to either under- or over-play, in regard to velocity. Yes, there are settings for that, but it’s annoying to have to adjust velocity sensitivity or filter down the sound every time I turn on a unit.
Interestingly, my velocity sensitivity adjustments are the opposite on a weighted-action keybed versus a non-weighted/light-weighted keybed. On the fully weighted, I want to make it easier to play loud sounds without working too hard, while on the unweighted, I want to make it harder to play loud sounds.
I think this suggests there is needs to be a fundamentally different playing style on weighted vs. unweighted keybeds. On a weighted keybed, I am kind of massaging the keys, pushing lightly then accelerating into the action. And on an unweighted keybed, the finger is cast onto the key at a certain velocity. Changes in velocity during the key press don’t amount to anything.
If i play a long classical piece im finished for the day on weighted keybeds. The Nord 88 which is their flagship esp on the lower notes is like pressing down on mush.
Just spent a bunch of time trying to school myself on the differences in key-beds. A lot of people online saying the same thing we are.
A couple years ago, we had the entire action of our home grand piano replaced by a local, guru technician. I was blown away with the dynamic control I had over the piano after the replacement.
Back to the Fatar semi-weighted keybed…I am guessing that a skilled player can control dynamics just as well on this one, albeit with a totally different technique.
On a real piano, getting a specific velocity is, imo, a function of pushing through the resistance of the key. Whereas (I think) the technique on a semi- or non-weighted key-bed is to cast the finger downward with a particular velocity, following through the key-press with the same velocity. Assuming this is right, playing softer notes would require casting the finger down in anticipation of the beat, and the opposite for louder notes.
What makes a real piano action fast is not having to push each key down very far in order to propel the hammer onto the string. And on a synth, there is a minimum press needed to trigger the sensor. Real pianos have an escapement, allowing repeated presses to happen rapidly. I assume the synth makers have figured out a way to emulate this.
Speaking about hammer action keyboards. I missed this earlier, but at the show was a sectional, connect together full sized hammer action keyboard. You can break it down into short pieces and put in a back pack, or carry it on a plane, or whatever. The unit comes in a choice of sizes and also has sound if you wanted to carry even less. It will be available soon.
Would really want to know how good this really feels. No doubt you are trading off some “touch” for the portability.
They also have a synth action version that they are currently selling.
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This sounds similar in principle to clicky mechanical typing keyboards. They register a keypress before they bottom out, and the click provides feedback that the press was successful.
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