When I began searching for more expressive MIDI controllers, touch-strips were something rare. Now they’re frickin’ everywhere: Novation’s Twitch, Dave Smith/Roger Linns’ Tempest, Akai’s new Max49 and of course, on my own Mojo.
So what I’d like to know is, what’s the next unconventional sensor to work its way into mass acceptance on these sorts of instruments? Arcade buttons? Joysticks? Accelerometers? Whack’a'moles? Let us know your prediction in the comments.
Custom Nonagon mappings for the new Vestax VCI-400.
It’s been a little more than two months since we posted demo videos of my Ableton Live / Max for Live template for the Vestax VCI-400. The videos were picked up by the folks at Vestax headquarters, who graciously invited me to last month’s NAMM show in Anaheim, Calif. to give in-person controller demos at their booth. Now, after a few rounds of tweaks, some new additions and some documentation, the template and all of its associated Max for Live patches and Live preset racks are available to download.
Some of the most intriguing curiosities at the NAMM Show can be found deep down in the subterranean exhibit Hall E. This show hall is generally populated by newer and smaller companies that may not be as established as giants like Avid or Yamaha, but these companies can often be some of the most innovative. Exciting instruments like the Video Guitar from Visionary Instruments and the world famous Reactable lurk in the basement of the Anaheim Convention Center, as well as some nifty new controllerist gadgets. Here are two that stood out.
So it has a lot of knobs, pads, buttons and screens, but the Rhizome’s approach to control is really its most interesting feature. Most controllers control functions within a software DAW, you map a knob on your controller to a knob on your screen. The Rhizome sort-of is the DAW, or in other words, a controller with the software and computer built into it. I can definitely see the appeal of simply turning on a groove box and making music right away without having to plug in a bunch of cables and devices.
The sun sets on Anaheim, Calif. as the teamsters load up the last crates full of trade show booth parts and the leather-clad aging 80′s rockers slink back to whatever coke-fueled nightmare they came from. Another NAMM Show is concluded.
Business was done, products were announced, Stevie Wonder played some new keyboards and many new friends and connections were made. The NAMM Show is a hotbed of activity and can drive a lot of change and innovation in the industry. So what’s the next big thing? Where is this crazy world of music technology headed? I can’t really say, only time will tell.
But we did see a lot of cool stuff at NAMM, all sorts of exciting new products from all your favorite manufacturers. Here’s a quick roundup. Let us know what you think.
Akai MAX49
The Akai MAX49 features CV and Gate outputs to control analog gear
Akai has a pretty exciting new keyboard. Semi-weighted keys with after touch, built in arpeggiator, step sequencer, touch strips with LED feedback and velocity sensitive pads all make this a pretty killer box. But the most interesting feature, to me, is the analog CV and gate outputs. This thing is essentially a MIDI to CV converter, giving you control over your software DAW and your vintage analog gear. Hello eBay, time to pick up that old Juno 106! If you play keyboard, the MAX49 will definitely be a powerful tool.
Totally amazing piece of controller!
Keith McMillen QuNeo
The QuNeo is pretty much the only truly innovative piece of controller gear I saw at NAMM. I’ve been waiting for a chance to play with this thing ever since the Kick Starter was launched, and it has definitely delivered. The QueNeo has so many different layers of control on each pad – velocity, pressure, position, etc. – I can’t even visualize how to play it yet. And the fact that they managed to fit all of those features into such a small, bus-powered package is simply mind boggling! I can’t wait to spend some more time with this controller.
