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TC Electronic and Yamaha are pleased to announce a unique high-profile clinic tour collaboration. Nathan East will represent both companies in a select, “evening with” style workshop tour in Europe. Specifically in the UK, Denmark and Germany see below for further details.
Nathan East is a founding member of the chart-topping and world-renowned jazz quartet Fourplay. He is also a Grammy nominated bassist, songwriter and recording artist in the fields of jazz, rhythm and blues, rock and pop music.
Most recently, Nathan’s playing was featured on Daft Punk’s worldwide hit “Get Lucky” performing this at the 2014 Grammys, along with Stevie Wonder, Nile Rodgers, Omar Hakim, Paul Jackson Jr. and Pharrell Williams. Significantly this year Nathan released his highly acclaimed debut solo album in March.
Check the list of legendary artists who collaborated with Nathan on this album: Eric Clapton, Stevie Wonder, Michael McDonald, Sara Bareilles, Bob James, Chuck Loeb and more. “Nathan East” debuted at No. 1 on the Billboard Contemporary Jazz chart and went to No. 1 on both the iTunes and Amazon Jazz album charts.
For more than 40 years, Nathan has been delivering hit songs with celebrated artists such as Beyoncé, Eric Clapton, George Harrison, Michael Jackson, Phil Collins, Whitney Houston, B.B. King, Elton John, Aretha Franklin, Joe Satriani, Anita Baker, Usher, Ray Charles, Toto and Stevie Wonder to name but a few.
In association with Yamaha and TC Electronic, join Nathan East at a venue near you for a special evening of insight, discussion and live performance.
In addition to playing and undertaking a Q&A session during the evening, Nathan will talk about and demonstrate the TC Electronic bass amps, loopers and fx pedals he uses. East’s professional relationship with Yamaha spans more than 30 years and again he will be happy to talk about the basses he has used and helped create over the decades. Each free show will start locally at 19:00 and spaces will be very limited, so we recommend booking your attendance with each dealer as soon as possible.
This one off event will focus squarely on the ARTIST & THE SONG and PRODUCTION & THE MIX
We are going to place critically acclaimed singer songwriter Martyna Wren in the same room as in-demand session drummer, Emily Dolan Davies (Tricky, Becky Hill, Bryan Ferry, The Hours) and London based musician, producer and Steinberg expert, Andy Schrav (Peter Andre, Delta Goodrem, Paper Aeroplanes).
We are not exactly going to force them to dance but expect to see some fireworks as we set them to task of collaborating together to record and produce a track from scratch with everyday gear that you would find in the typical project studio. Audience participation is encouraged and our three experts will cover everything from kitting out your own recording set-up, recording on your own track, right through to working and collaborating with other musicians and producers.
Martyna, Emily and Andy will build and record one of Martyna's tracks from scratch and look to challenge each other and the audience as they work through valuable song writing and production techniques.
Dr. Robert Howe, a reproductive endocrinologist and a doctoral student at University of Connecticut in musical theory and history, has come up with a way to marry medical scanning technology with 3D printing in order to repair antique musical instruments so that they can be played again.
Howe learned how to use CT-scanning in his practice to make 3D scans of body parts and he soon began thinking about how it could also be used on musical instruments. Together with his musical theory professor and an engineering professor who specializes in 3D imaging, Howe began making detailed 3D scans of centuries-old instruments to not just study them from every angle, but also to then 3D print copies of parts that would allow them be played.
The technology has let them examine 18th-century horns from the inside-out, showing them to be much more complicated than was thought and a new technique that allows them to scan metal and wood at the same time has allowed them to make exact 3-D images of the mouthpiece used on one of the first saxophones made by Adolphe Sax in the 19th century.
Only three of these mouthpieces exist in the world and in order to duplicate it, the original mouthpieces would have to be measured by metal calipers which could damage the wood. After that, the part would have to be handmade through a long and costly process. 3D scanning and printing on the other hand is allowing them to make duplicates with exact dimensions without harming the instrument piece and for only about $18 a part.
SUMMER NAMM 2014 PRESS RELEASE: The reinvented Blues Cube series launches the classic 1x12 combo amp into a new era, combining genuine tube sound and response with modern reliability and easy portability. Going far beyond modelling, Roland’s Tube Logic design philosophy starts with carefully reproducing the inner workings of the revered tweed-era tube amp in every way, from guitar input to speaker output.
Versatile clean and crunch channels can be used independently or combined for a complex range of tones, while variable output power modes let you dial in burning, full-throttle sound at any volume. Road-tested and fine-tuned with feedback from top players, the gig-ready Blues Cube delivers the sweet, magical tone and satisfying feel that makes a great guitar amp a highly expressive musical instrument.
YAMAHA KICK STARTS 40 YEARS OF SYNTHESIZER CELEBRATIONS WITH
A SPECIAL EDITION MOTIF XF WHITE
40 years is a milestone worth commemorating. To mark this auspicious occasion Yamaha has created the limited edition 40th Anniversary MOTIF XF Music Production Synthesizer.
In 1974 Yamaha produced its first portable analog synthesizer with the SY-1. The acceptance of synthesizers in the mainstream rock/pop genre just began to grow at this time. Over the past 40 years to date, there have been numerous new developments from Yamaha in many variants that revolutionised the synthesizer market with milestones such as the CS80, DX7, SY77, and the VL1 up to the MOTIF series – used today by over 150,000 musicians worldwide. Yamaha synthesizers and workstations were and still are the first choice for professionals and amateurs in the multi-faceted music business.
In 2014 Yamaha takes this successful history as an occasion to celebrate, and to honour this anniversary there will be a year of new products, bundles, promotional items, as well as plenty of interesting information. For starters Yamaha releases a 40th Anniversary MOTIF XF Music Production Synthesizer Special Edition. This limited edition of the MOTIF XF series with the suffix "WH" is all dressed in white, symbolizing the dedication to the development in the past 40 years.
The MOTIF XF WH is - of course - a fully up-to-date MOTIF XF with the latest OS 1.5, featuring the new HD Reverb effect algorithms and the new Amplifier Simulation and Multi FX. In short: The MOTIF XF WH is that one machine you need to produce and perform your musical ideas.
A Yamaha XF For Half The Price?
The best things often come in smaller packages and with the MOXF Yamaha have managed to take the essence of their flagship Motif XF and distil it down into something rather wonderful…and at less than half the price! Does the promise match the reality? Read on…
The Workstation market has until recently been somewhat quiet and then, like waiting for the bus that never looks like it will turn up we get a slew of rather interesting workstations all at the same time! First out of the gate was KORG with their entry level KROSS in early 2013 which set a new benchmark in what you could expect from a budget priced workstation. Then at the end of 2013 Yamaha hit a home run in the mid-range sector with the MOXF and bringing up the rear, Roland launched it’s new mid range keyboard, the rather oddly named “FA” at the beginning of 2014.
The thing with workstations though is they are “supposed” to give you everything in one box and given that means, great sounds, a comprehensive midi sequencer, perhaps an audio record function, inputs for external devices and/or instruments as well as sampling or sample import coupled with a decent quality keyboard and screen and you can see it’s quite a big ask? To bring all that in at a price most people can afford is even more of a stretch so, the question is, can it be done or, more pertinently in this case, can Yamaha accomplish the perfect balance in the MOXF?
MOX Deja Vu?
Looking at the MOXF you may be forgiven for thinking you have seen this somewhere before and of course you would be right. Yamaha have used the same case and chassis they used for the MOX and whilst this may not exactly set the world on fire in the aesthetics department it does though, make a lot of sense. Yamaha wanted to give the customer more for roughly the same price and a good way of doing that is to utilize what you already have rather than blow the budget on a frivolous makeover. So, what we have here is the same light weight (7.1kg), the same strong plastic construction, same dark grey finish and same well-appointed controls on the front panel. The layout is, in fact identical.
On the left we have the audio section consisting of volume and gain controls for the input plus a strip of LEDs to monitor internal/external signals. There are a number of real-time controls which sit in two rows of four assignable knobs, two modulation buttons (assignable), two octave-transpose buttons (very welcome), two semitone transpose buttons, an effects section, an arpeggio control and the transport controls for internal sequences or an external DAW. In the middle there is a backlit monochrome LCD with a resolution of 240 x 64 dots accompanied by two rows of six buttons below it, one for the menu pages and another for the sub-pages. You also have to the right of the display four directional buttons and a data wheel plus increment/decrement buttons.
Moving to the right hand side there are buttons for selecting the different playing modes such as Voice, Performance, Master, Song, Pattern and Mixing plus buttons for the other functions such as Job, Utility and Quick Setup the latter enabling you to very quickly create multi-timbral configurations. Further along is the Performance Creator section, which includes buttons for layers, splits and drum assign. Rounding it all off, there are three rows of eight buttons for selecting the multitude of programs and to activate/deactivate layers and arpeggios. With so many ways of getting around the MOXF the lack of a larger screen really is not an issue. I certainly found the MOXF very easy to use once I had become accustomed to all the functions on offer.
The model I had for review was the 61-key version but there is also a 88 key model which sports Yamaha’s GHS (graded hammer standard) keybed. The 61 note version has a semi-weighted keybed with velocity sensitivity but no after touch, although the lack of aftertouch is quite normal at this price point so it seems hardly worth mentioning.
Product specialist Dom Sigalas recently dropped into the Sonic State studios to demonstrate exactly what the Yamaha MOXF6 can do.
In this video Dom gives a very good insight into what to expect sound wise from the MOXF and also how it fits in with the way we all make music today and streamlines the workflow.
The updated MOX Series now comes with the latest MOTIF XF technology, by adding more sounds, more effects and even a Flash board option. Because it’s compatible with MOTIF XF and MOX data, MOXF has a huge collection of sound and sample libraries and optional software available right away. Expandable, portable, affordable, and compatible with a wide range of other products, these instruments brings MOTIF music production power to a whole new generation of musicians and producers.
Meet the Pro's - Dom Sigalas - Yamaha Music Production Expert
A prominent and respected composer and in-demand music producer with credits including Animal Planet, Dom will be on hand all day to answer your questions and inspire you with demonstrations and guidance on the MOXF, MOTIF & MX synths, CP Stage piano and the latest line-up of studio monitors. As an expert on Steinberg's Cubase, Dom will also be showing how this production software - bundled with many of these products - integrates beautifully with the hardware and is way more than just another freebie!
PMT Birmingham, Manchester and Leeds, Norwich and Cambridge are all state-of-the-art Yamaha Pulse stores, with a cutting edge music technology departments stocked with contemporary hi-tech gear, keyboards, synths and a versatile range of music production products.
So if producing music is your passion, get yourself down to our stores for these un-missable events. Simply come along and soak up the creative atmosphere, or E-Mail your local store to book a One-To-One session with Dom and we'll get back to you with a time and confirmation:
Get on track with Martyna Wren at the Yamaha Music London Songwriting sessions - instore, Saturday 31st May
Want to learn how to write a great song and THE killer hook ? Of course you do! So, don't miss this event - make tracks to Yamaha Music London in the heart of the capital.
Martyna Wren is one of the UK's most acclaimed up-and-coming songwriters, having performed extensively throughout the UK including The Cheltenham Jazz Festival, Royal Albert Hall (with sell-out shows) at The London Jazz Festival during 2012 & 2013.
Martyna, along with her trusty MOXF synth and CP series stage piano will be instore on Saturday 31st May hosting a day of songwriting workshops suitable for all ages and abilities. She'll be imparting her knowledge on how to develop a song from scratch, from the basic approach through to song structures, melodies and what makes a great hook - the most memorable aspect of any song - and the key elements that turns a good song into a GREAT song!
If you want to learn more about songwriting, don't miss this event to learn how your simple ideas can soon become a musical reality.
Link to book session - https://www.yamahamusiclondon.com/forms.php?form_id=149
Discuss on the forum - http://www.yamahaforums.co.uk/forum/viewtopic.php?f=2&t=7512
I should preface this review by saying I am not going to be dissecting the minutiae of the KORG Kross. There are plenty of reviews online that have done that already. What i am going to do is give you my "impressions" and some thoughts on how the Kross compares to the Yamaha MX.
One of the most common questions that crops up regularly here at YFUK is "which keyboard should I buy?" and it's one of those questions that is nearly always difficult to answer, at least not directly. The best we can do is list the pros and cons of each and then tell people to try and get a "hands on" before making a final decision. After all, music is one of those things in life where you may love something and someone else may hate it. You can ask for people's opinions but in the end, only "you" can decide what is right for you. A keyboard may have all the features in the world but if it doesn't sound and feel right then it's time to move on.
Having said that I thought we would take one of the regular topics that comes up and see if we can come to some conclusion which may help some people out. The topic in question being "should I buy a Yamaha MX or KORG KROSS?" So let's attempt to answer that one right now. We'll kick off with the KROSS since KORG were kind enough to loan me one for a couple of weeks and then I'll say a few words about the Yamaha MX and how it compares.
Many of you may well be familiar with KORG's current workstation line-up, Kronos X, Kronos, Krome, KROSS, Microstation and Mircroarranger. The KROSS comes in as the "entry level" workstation and although not sporting some of the features found on it's more powerful siblings it does non-the-less pack in quite a surprising amount of tech and features for a shade under it's current £600 price tag
A quick look at some of the features:
Yes there have been compromises, which I will come to in a moment but in fairness the same can be said of most keyboards at this price point.
The first thing I am interested in when considering any new keyboard is, what does it sound like? If it doesn't sound good then there's really no point going any further. So does the KORG KROSS measure up in the sound department? Well for the most part yes it does. There are a decent selection of acoustic pianos, electric pianos, organs, strings, brass, synths and guitars which should keep most people happy. Plus there is a free "bonus pack" of 512 sounds you can download from the KORG website. Have to say I found myself playing around with the bonus sounds more than the stock ones but all in all it's not a bad showing on the sound front. Only slight niggle if using the free downloadable sounds is there is just the one user bank to load sounds into and you can't load them all at once so some more user banks would not go amiss or perhaps some sort of flash board so you can play sounds direct from that...but then it would push the price up. Anyway, it's a niggle not a deal breaker and it works ok the way it is.
My main instrument is guitar so that is often my first port of call and in this case it's a bit of a mixed bag. There are some good nylon string acoustic guitars but the steel string and electrics I don't think are as convincing as Yamaha's are on the MX61 and MOX. It's not that they are particularly bad its just as a guitarist I want to be convinced and in a blind test I would absolutely know this is a keyboard I am hearing, not a guitar. Yamaha are renowned for their acoustic sounds so perhaps this result will not come as a surprise to many.