Archive for the ‘NAMM 2010’ Category

At NAMM 2010 AVID announced the upcoming Pro Tools Instrument Expansion Pack. Unfortunately there hasn’t been a lot of details on exactly what you get. Russ over at the AIR Users Blog got hold of the new pack  and made some videos showcasing what’s new in each of the 5 plugins. NAMM was several weeks ago, but AVID didn’t want the info out (why?). So finally Russ has been given the OK from AVID to release these exclusive videos. [Audio Geek Zine via AIR Users Blog]

Digidesign AIR Instrument Expansion Pack Structure 1.1 from AIR Users Blog on Vimeo.

A NAMM 2010 special from the AIR Users Blog, Russ give a in depth look at the new Digidesign AIR Instrument Expansion Pack.



Apple’s release of Logic Pro 9.1 two days before the NAMM music show in Anaheim, Calif. last week caused quite a stir on the show floor with developers, engineers and users.

Among its major changes, Logic Pro is now a 64-bit application. We’ve all heard about 64-bit apps before, but in practical terms, it will help music producers and songwriters create better music. That may sound like somewhat of a stretch, but it’s true.

All 32-bit applications have a memory limit limit of 4GB. That means that after system memory has been accounted for, the most memory an app can use is 4GB. However, a 64-bit application’s memory usage is virtually unlimited.

This is especially important when using plug-ins with large sample libraries. One company at the show that immediately took advantage of the 64-bit version of Logic was Spectrasonics.

Spectrasonics showed off 64-bit versions of its entire product line at NAMM, which is no small feat considering Logic 9.1 was announced just two days before the show started. The company was obviously prepared for the move to 64-bit, and company founder Eric Persing said his customers will see immediate benefits in Logic. [read]

At the 2010 Winter NAMM show, Universal Audio announced the impending release of the Manley Labs Massive Passive EQ plug-ins, the company’s most ambitious EQ modeling project to date.

Specifically, the two-channel, four-band Manley Massive Passive EQ utilizes design strengths from choice console, graphic, parametric and Pultec EQs — delivering a fundamentally different type of EQ.

The Massive Passive’s natural treatment of a signal lends itself to both radical tonal shaping as well as delicate vocal shading or subtle mastering enhancement.

“The Massive Passive is truly the ultimate in mastering grade EQs. It sounds warm without ever being dull; it stays precise while remaining highly musical,” offered UAD Powered Plug-Ins Product Manager Will Shanks. [read]


I always try to report from the Avid/Digidesign booth at when I cover trade shows that I attend but this year I don’t have much to say. I’ve already told you about the updated instruments, aside from that there wasn’t much new from Avid at NAMM.

Their booth was pretty much just benches set up for meetings, the current product lines behind glass, as well as an Eleven Rack for visitors to play with. [read]

I was too struck by this fact.  But, in meeting with them I liked that they took the time to ‘talk’ and ‘listen’.  No one at NAMM had much to announce so I’d rather chat then hit a booth where there was just last years gear and a much of sales guys.  Marginal kuddos to AVID.

The new microphones, software, personal mixing, multi-track mixers, hardware, and more that debuted in Anaheim

“Enthusiastic” was the overarching feeling at the show as most manufacturers experienced good to great traffic flow at their booths from super-interested buyers and others.

If sales were off in 2009 you couldn’t tell it by the company-packed Halls A through C. Only Halls D and E had noticeably more empty floor space than last year.

Some companies were conspicuous by their absence. Notably MIA were Apple, Native Instruments, and East-West Samples.

The enhanced door security policy where, upon every hall entrance you had to proffer a valid picture ID that matched your badge, worked well to cut down the number of non-industry people clogging the aisles. [read]

Earthworks has introduced the SR40, 40kHz high definition microphone, which offers an extended high frequency response, extremely fast impulse response, short diaphragm settling time, exceptional cardioid polar pattern, and high rejection of sounds from the rear of the microphone.

It is intended for a wide range of applications, ranging from drum overheads to mic’ing a guitar cabinet, or as a solo microphone.

Earthworks’ new SR40 offers a 30 Hz – 40 kHz frequency response, revealing subtleties in the sound that are simply non-existent from microphones with less high frequency range, and enabling, for example, an acoustic guitarist’s performance to exhibit greater depth and realism.

Equally significant, the SR40 offers an extremely fast impulse response that enables the microphone to acquire fast transients far more accurately.

The exceptionally short diaphragm setting time allows the SR40 to reveal subtle low level nuances in sound that other microphones mask. [read]


Earthworks Drum Mics [NAMM 2010]

I own a number of USB microphones.  Why?  Well, they are great when you need to get something done quickly and easily, a song idea, voice-over or a podcast. NAMM 2010 gave us yet another one – Yeti, from Blue Microphones.

I own a number of Blue microphones, including two of their UBS mics.  Why and what is so different?

Here’s what Blue says:

The Yeti is the most advanced and versatile multi-pattern USB microphone available anywhere. Combining three capsules and four different pattern settings, the Yeti is the ultimate tool for creating amazing recordings, directly to your computer. THX Certified for exceptional sound and performance, the Yeti can capture anything with a clarity & ease unheard of in a USB microphone.

The Yeti features Blue’s innovative triple capsule array, allowing for recording in stereo or your choice of three unique patterns, including cardioid, omnidirectional, and bidirectional, giving you recording capabilities usually requiring multiple microphones.

The Yeti utilizes a high quality analog-to-digital converter to send incredible audio fidelity directly into your computer, a built-in headphone amplifier for zero-latency monitoring, and simple controls for headphone volume, pattern selection, instant mute, and microphone gain located directly on the microphone. The Yeti’s exceptional performance and fidelity have earned it the distinction of being the first THX Certified Microphone, a validation of Yeti’s incredibly low distortion, high fidelity, and balanced frequency response. There are no drivers to install — simply plug the Yeti into your PC or Mac, load up your favorite recording software, and record something amazing.

I do like Blue mic’s so I will probably have to give this one a try as well.  If anyone out there has one, I would love to hear what you think.

Blue Microphones