Feb 01 2010

NAMM 2010 – Sampling & Modeling Gen 3 by Peter Chatterjee

Published by at 2:22 pm under Uncategorized

This years NAMM show, and some carryover from CES, was heavily focused on making use of the advanced processing & storage capabilities available in very low power form factors.  The result was Generation 3.0 of advanced sampling and modeling systems that now using the full data bandwidth and signal handling features that are available in standard components for both the consumer and industrial marketplace.
The Generation 1.0 was started back in the 1960′s with the analog based sampling, effects and modulated playback that was defined by the Moog Synthesizer invented in 1964 by Bob Moog.  To honor this starting place, the NAMM show and The Bob Moog Foundation displayed some key artifacts, equipment and material from the Waves of Inspiration: The Legacy of Moog exhibition which is running from August 29, 2009–April 30, 2010, at the Museum of Making Music’s facilities in Carlsbad, California.
The Generation 2.0 was the long cycle, still on-going, of sampled music and sampled MIDI/VST instruments that ranged from rudimentary low resolution data to high accuracy single note and single sound samples at mid level data rates. These digital solutions were targeted at moderate capability portable and stage devices, based on power limitations, and high quality capability has been reserved for desktop/studio platforms.  These generation 2.0 solutions were still prevalent in existing digital products from Yamaha, Roland, Sony hardware and software from Garritan, Calkwalk, Native Instruments, and Garage Band.  Yamaha introduced a MIDI audio-visual device designed by renowned artist Toshio Iwai.  The device is shown in the following photo, and is an interactive art piece that has 256 programmable LED buttons that can display patterns and play music in the modes of up to 64 simultaneous samples at once.  The features and SD card and MIDI interfaces and utilizes dual 32 bit embedded processors on a custom (linux based) OS.  The music can be programmed as full songs, or in draw mode, fully interactive with sounds based on touch interface with the LED keys.
The Generation 3.0 is now starting and is characterized as utilizing the full capability of 2010 era mobile and studio digital processing as well as “musical sampling”.  “Musical Sampling” is the concept and the capture of instrument sounds and effects, NOT on a standalone note basis, but in context of other notes and chords, and materials of the instruments.  The Generation 3.0 has been in place for a little while, promoted by Line6 with their DSP based solid state modeling amps which recreate historic tube amplifiers, and Roland with their V-Series of instruments.  Roland continued to expand thier V-series instruments with a new electronic drum kit and components, a new drum pad (the Octapad). a V-series combo piano/organ, and a new low priced and simple interface voice processor (VP-7), in addition to their existing keyboard line.  The V-line of equipment is migrating from stored samples as the playback method, rather they have created continuous time and multi-note correlated models for the notes, chords and phrases being played back.  Following this technology, the VP-7 is small effects box that takes a microphone input (through an XLR connection) and a MIDI interface from a keyboard, and then generates vocal harmonies as either female choir, kids choir, Gregorian choir, jazz scat, duet or trio in real time, for use in live performance environments, based on both the notes sung by the vocalist and the chords played on the keyboard.  Previously, these products were only available as studio products in the several thousand dollar range, the VP-7 is a small form factor accessory in the several hundred dollar range.  A demo is available at http://www.rolandus.com/products/productdetails.php?ProductId=1062
Yamaha also has introduced a new line of stage pianos and electronic drum systems.  These incorporate phrase and context based samples as well as new materials.  The drums have new electronic heads that are both more responsive and sensitive.  The keyboards feature new weighted keys that are almost indistinguishable from those used on their concert grand acoustic pianos.  The keyboards also supports full modeling of the hammers, pedals, and both adjacent and non-adjacent keys being used simultaneously and the harmonics generation on the sound board.
The drop in price, capacity and performance for external HDDs has made them the new preferred distribution format for the sampled and modeled instruments.  The availability of this format (typically a 60GB-1.2TB distribution) has allowed for a new form of sampled data.  The resolution is higher at 24bits/96K or 24bits/192K sampling.  In addition to traditional “note” based information, context, phrase based, “grove based”, and equipment options are now part of the environment.  On the equipment side, it is not only effects and amp modeling, but on band instruments there are also options.  On the band instrument side it includes wood and metal mutes for brass instruments, different mouthpiece types for woodwinds and both current and classic drum kits and cymbals.  PG Music’s Band in a Box product is shipped on a 160GB USB HDD for their complete “chord based” music samples in compressed format.  Their full “audiophile” lossless product has the samples in an uncompressed format that is suitable for professional studio application is shipped on a 1.5TB USB HDD.
Following this trend toward more realistic sound, for percussion Sonic Reality has introduced “Epik Drums – a Ken Scott Collection”. Ken is the legendary British recording engineer and producer who recorded The Beatles, David Bowie, Elton John, Supertramp, Pink Floyd, Jeff Beck, Mahavishnu Orchestra, Dixie Dregs, Devo, Lou Reed, America and many other iconic artists.  The new virtual instrument plug-in contains 80GB of 24 bit drum samples recorded in multi-track as a combination of audio grooves and MIDI kits.  These samples were recorded from authentic historic drum kits and configurations by top drummers Billy Cobham, Bob Siebenberg, Terry Bozzio, Woody Woodmansey and Rod Morganstein as they played on the original albums.  [figure]
To utilize these new samples and virtual instruments, the folks at Eigenlabs (UK) have created a new performance oriented instrument called the Eigenharp.  It is available in three models the Alpha (top of the line, largest, professional market), the Pico (smallest, consumer product) and the new Tau (middle).  The instrument has patented 3D position sensitive keys, pressure sensitive resistive strip controllers, and a breath pipe controller that act as the programmable and playback surface for the device.  The three models differ in the number and type of control keys (standard and percussive), number of strip controllers and finishes.  Using the instrument the musican can play and record loops, change scale and key, transpose, alter tempo, program beats, create arrangements, switch and layer multiple sounds, all while the musician is performing live on stage.  A photo of the Eigenharp Alpha follows.
Another instrument that is getting new modeling capabilities are the guitar and bass.  Brown’s Guitar Factory (Minnesota) has been building custom electric basses for several years.  Recently they created a Kahler bass tremolo system with acoustic and MIDI saddles that can track and sound as accurate as the best performing keyboard synthesizers on the market. They are offering this as a conversion kit and as a 4 string acoustic-MIDI electric bass.  It can be played as a standard bass or through a modeling system to act as a full synthesize controller.  On the guitar side, Gibson introduced thier 3rd generation auto-tuning guitar – The Dusk Tiger.  Once again, based on the Les Paul solid body guitar, the auto-tuning system features improved PZT controls for the tuning heads, a new re-chargeable battery configuration, and a modeling systems that can be downloaded into the guitar.  Using the supplied software, you can program the guitar to different tuning modes, to sound like different pickups and guitar models.  The new control knob also supports several standard classic guitar models as standard loaded in the guitar.  As in previous models, the guitar is targeted as a stage performance instrument, so at playback, just a standard guitar amp is used through the 1/4″ jack and it is played normally.
The last area that saw improvement in dynamic range and sonic reproduction was in the area of headphones and earphones.  Ultimate Ears (now a Logitech Company) has been making in-ear custom monitors for touring musicians and sound engineers for over 12 years.  Using advanced sound guide design, custom cross over circuits, and state of the art COTS speakers, they were presenting custom molded duel ear monitors with 2 to 6 speakers, including sub-woofers.  The custom ear molds insure that there is sufficient sound isolation from the ambient environment to allow the performers to hear the playback they need during live stage performances.  These in-ear monitor systems feature a frequency response of 20hz-18KHz and input sensitivities up to 124dB @ 1mW, and 26dB of noise isolation.  These are typically professional level products, however their intro level product is a dual speaker system that is price compatible with most DJ level and home studio over the ear headphones.
On the consumer side there several new in-ear speaker systems from Monster Cable.  Based on their experiences with the Dr. Dre “Beats” headphones from Monster Cable,  Erin Davis (Miles Davis’s son) and Vince Wilburn Jr (Miles Davis’s nephew) approached Noel Lee about making a headphone for the Jazz marketplace.  Working with the group at Monster they created the Miles Davis Tribute in-ear speakers that are derivative of the Turbine in-ear speakers released in 2009.  In order to test and qualify the product, in addition to standard testing, they also sought feedback from artists who have been in Jazz for a long time and some of whom played with Miles.  One of the people reviewing the product was Lenny White who played with Miles on the seminal album “Bitches Brew”, is the drummer for the Jazz-Fusion defining group Return to Forever, and has recorded and played with artists from just about every genre.  In addition., to the Miles Davis in-ear speakers, Monster also released the Turbine Pro Copper product with is an upgraded version of the Turbine in-ear speakers featuring enhanced bass, and a faster response time for improved clarity at the high frequencies.  The Pro product is more of studio class / audiophile product than the Turbine speakers.  The new ear buds improve sound isolation, so the in-ear product behaves in the same class as a traditional over the ear product.
The summary from the show was that now that processing power is available in mobile and low power platforms, the environment to musically capture, playback and monitor high performance audio, based on a digital signal path, is at levels nearly inpercetibly different from traditional analog (strings, woodwind and brass) instruments.  This adds a new dimension to the ability to distribute music and adds another dimension of creativity to the traditional musician to explore new music and styles anywhere / anytime.
Peter Chatterjee and Pallab Chatterjee

This years NAMM show, and some carryover from CES, was heavily focused on making use of the advanced processing & storage capabilities available in very low power form factors.  The result was Generation 3.0 of advanced sampling and modeling systems that now using the full data bandwidth and signal handling features that are available in standard components for both the consumer and industrial marketplace.

The Generation 1.0 was started back in the 1960′s with the analog based sampling, effects and modulated playback that was defined by the Moog Synthesizer invented in 1964 by Bob Moog.  To honor this starting place, the NAMM show and The Bob Moog Foundation displayed some key artifacts, equipment and material from the Waves of Inspiration: The Legacy of Moog exhibition which is running from August 29, 2009–April 30, 2010, at the Museum of Making Music’s facilities in Carlsbad, California.

The Generation 2.0 was the long cycle, still on-going, of sampled music and sampled MIDI/VST instruments that ranged from rudimentary low resolution data to high accuracy single note and single sound samples at mid level data rates. These digital solutions were targeted at moderate capability portable and stage devices, based on power limitations, and high quality capability has been reserved for desktop/studio platforms.  These generation 2.0 solutions were still prevalent in existing digital products from Yamaha, Roland, Sony hardware and software from Garritan, Calkwalk, Native Instruments, and Garage Band.  Yamaha introduced a MIDI audio-visual device designed by renowned artist Toshio Iwai.  The device is shown in the following photo, and is an interactive art piece that has 256 programmable LED buttons that can display patterns and play music in the modes of up to 64 simultaneous samples at once.  The features and SD card and MIDI interfaces and utilizes dual 32 bit embedded processors on a custom (linux based) OS.  The music can be programmed as full songs, or in draw mode, fully interactive with sounds based on touch interface with the LED keys.

Tenori-on Orange

Tenori-on Orange

The Generation 3.0 is now starting and is characterized as utilizing the full capability of 2010 era mobile and studio digital processing as well as “musical sampling”.  “Musical Sampling” is the concept and the capture of instrument sounds and effects, NOT on a standalone note basis, but in context of other notes and chords, and materials of the instruments.  The Generation 3.0 has been in place for a little while, promoted by Line6 with their DSP based solid state modeling amps which recreate historic tube amplifiers, and Roland with their V-Series of instruments.  Roland continued to expand thier V-series instruments with a new electronic drum kit and components, a new drum pad (the Octapad). a V-series combo piano/organ, and a new low priced and simple interface voice processor (VP-7), in addition to their existing keyboard line.  The V-line of equipment is migrating from stored samples as the playback method, rather they have created continuous time and multi-note correlated models for the notes, chords and phrases being played back.  Following this technology, the VP-7 is small effects box that takes a microphone input (through an XLR connection) and a MIDI interface from a keyboard, and then generates vocal harmonies as either female choir, kids choir, Gregorian choir, jazz scat, duet or trio in real time, for use in live performance environments, based on both the notes sung by the vocalist and the chords played on the keyboard.  Previously, these products were only available as studio products in the several thousand dollar range, the VP-7 is a small form factor accessory in the several hundred dollar range.  A demo is available at http://www.rolandus.com/products/productdetails.php?ProductId=1062

Yamaha also has introduced a new line of stage pianos and electronic drum systems.  These incorporate phrase and context based samples as well as new materials.  The drums have new electronic heads that are both more responsive and sensitive.  The keyboards feature new weighted keys that are almost indistinguishable from those used on their concert grand acoustic pianos.  The keyboards also supports full modeling of the hammers, pedals, and both adjacent and non-adjacent keys being used simultaneously and the harmonics generation on the sound board.

The drop in price, capacity and performance for external HDDs has made them the new preferred distribution format for the sampled and modeled instruments.  The availability of this format (typically a 60GB-1.2TB distribution) has allowed for a new form of sampled data.  The resolution is higher at 24bits/96K or 24bits/192K sampling.  In addition to traditional “note” based information, context, phrase based, “grove based”, and equipment options are now part of the environment.  On the equipment side, it is not only effects and amp modeling, but on band instruments there are also options.  On the band instrument side it includes wood and metal mutes for brass instruments, different mouthpiece types for woodwinds and both current and classic drum kits and cymbals.  PG Music’s Band in a Box product is shipped on a 160GB USB HDD for their complete “chord based” music samples in compressed format.  Their full “audiophile” lossless product has the samples in an uncompressed format that is suitable for professional studio application is shipped on a 1.5TB USB HDD.

Following this trend toward more realistic sound, for percussion Sonic Reality has introduced “Epik Drums – a Ken Scott Collection”. Ken is the legendary British recording engineer and producer who recorded The Beatles, David Bowie, Elton John, Supertramp, Pink Floyd, Jeff Beck, Mahavishnu Orchestra, Dixie Dregs, Devo, Lou Reed, America and many other iconic artists.  The new virtual instrument plug-in contains 80GB of 24 bit drum samples recorded in multi-track as a combination of audio grooves and MIDI kits.  These samples were recorded from authentic historic drum kits and configurations by top drummers Billy Cobham, Bob Siebenberg, Terry Bozzio, Woody Woodmansey and Rod Morganstein as they played on the original albums.

Ken Scott - Epik Drum

Ken Scott - Epik Drum

To utilize these new samples and virtual instruments, the folks at Eigenlabs (UK) have created a new performance oriented instrument called the Eigenharp.  It is available in three models the Alpha (top of the line, largest, professional market), the Pico (smallest, consumer product) and the new Tau (middle).  The instrument has patented 3D position sensitive keys, pressure sensitive resistive strip controllers, and a breath pipe controller that act as the programmable and playback surface for the device.  The three models differ in the number and type of control keys (standard and percussive), number of strip controllers and finishes.  Using the instrument the musican can play and record loops, change scale and key, transpose, alter tempo, program beats, create arrangements, switch and layer multiple sounds, all while the musician is performing live on stage.  A photo of the Eigenharp Alpha follows.

Eigenharp Alpha

Eigenharp Alpha

Another instrument that is getting new modeling capabilities are the guitar and bass.  Brown’s Guitar Factory (Minnesota) has been building custom electric basses for several years.  Recently they created a Kahler bass tremolo system with acoustic and MIDI saddles that can track and sound as accurate as the best performing keyboard synthesizers on the market. They are offering this as a conversion kit and as a 4 string acoustic-MIDI electric bass.  It can be played as a standard bass or through a modeling system to act as a full synthesize controller.  On the guitar side, Gibson introduced thier 3rd generation auto-tuning guitar – The Dusk Tiger.  Once again, based on the Les Paul solid body guitar, the auto-tuning system features improved PZT controls for the tuning heads, a new re-chargeable battery configuration, and a modeling systems that can be downloaded into the guitar.  Using the supplied software, you can program the guitar to different tuning modes, to sound like different pickups and guitar models.  The new control knob also supports several standard classic guitar models as standard loaded in the guitar.  As in previous models, the guitar is targeted as a stage performance instrument, so at playback, just a standard guitar amp is used through the 1/4″ jack and it is played normally.

The last area that saw improvement in dynamic range and sonic reproduction was in the area of headphones and earphones.  Ultimate Ears (now a Logitech Company) has been making in-ear custom monitors for touring musicians and sound engineers for over 12 years.  Using advanced sound guide design, custom cross over circuits, and state of the art COTS speakers, they were presenting custom molded duel ear monitors with 2 to 6 speakers, including sub-woofers.  The custom ear molds insure that there is sufficient sound isolation from the ambient environment to allow the performers to hear the playback they need during live stage performances.  These in-ear monitor systems feature a frequency response of 20hz-18KHz and input sensitivities up to 124dB @ 1mW, and 26dB of noise isolation.  These are typically professional level products, however their intro level product is a dual speaker system that is price compatible with most DJ level and home studio over the ear headphones.

On the consumer side there several new in-ear speaker systems from Monster Cable.  Based on their experiences with the Dr. Dre “Beats” headphones from Monster Cable,  Erin Davis (Miles Davis’s son) and Vince Wilburn Jr (Miles Davis’s nephew) approached Noel Lee about making a headphone for the Jazz marketplace.

Erin Davis

Erin Davis

Vince Wilburn Jr.

Vince Wilburn Jr.

Working with the group at Monster they created the Miles Davis Tribute in-ear speakers that are derivative of the Turbine in-ear speakers released in 2009.  In order to test and qualify the product, in addition to standard testing, they also sought feedback from artists who have been in Jazz for a long time and some of whom played with Miles.  One of the people reviewing the product was Lenny White who played with Miles on the seminal album “Bitches Brew”, is the drummer for the Jazz-Fusion defining group Return to Forever, and has recorded and played with artists from just about every genre.

Lenny White

Lenny White

In addition., to the Miles Davis in-ear speakers, Monster also released the Turbine Pro Copper product with is an upgraded version of the Turbine in-ear speakers featuring enhanced bass, and a faster response time for improved clarity at the high frequencies.  The Pro product is more of studio class / audiophile product than the Turbine speakers.  The new ear buds improve sound isolation, so the in-ear product behaves in the same class as a traditional over the ear product.

The summary from the show was that now that processing power is available in mobile and low power platforms, the environment to musically capture, playback and monitor high performance audio, based on a digital signal path, is at levels nearly inpercetibly different from traditional analog (strings, woodwind and brass) instruments.  This adds a new dimension to the ability to distribute music and adds another dimension of creativity to the traditional musician to explore new music and styles anywhere / anytime.

Peter Chatterjee and Pallab Chatterjee

No responses yet

Trackback URI | Comments RSS

Leave a Reply