Keyboard Magazine 11 2011 [PDF]

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CONTENTS COMMUNITY 10

Special Edition: PHISH’s $1.2M Benefit for Hurricane Irene Relief.

KEYNOTES Hot players, news, and reviews from the keyboard world. 12 Kevin Roth on Making Children’s Music Interesting 14 Dan Tepfer: Variations on Variations 16 Editors’ Playlist: CD Reviews

LESSONS 26 30 34

THE CHORD DOCTOR: David Cook on Comping ORGAN: Radam Schwartz on Better B-3 Bass Lines JAZZ BASICS: Shelly Berg on Melodic Development

ARTISTS 38

DEREK SHERINIAN From Alice Cooper and Billy Idol, to an early stint with Dream Theater, to jamming with Eddie Van Halen and Zakk Wylde, to supergroup Black Country Communion, Derek Sherinian has one purpose in life: To prove that keyboards rock every bit as hard as guitars. Learn how you can, too.

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JESSE KEELER The producer and synthesist extraordinaire may be half of critically acclaimed electronic duos MSTRKRFT and Death From Above 1979, but in this interview, he provides insight into a project of his own: Producing the soundtrack for the latest installment of the Mortal Kombat video game.

SOLUTIONS 50 52 54

DANCE Create Harmonic Interest with Sideband Morphing STEAL THIS SOUND Daft Punk’s “Derezzed” from Tron: Legacy PRODUCERS’ ROUNDTABLE Problem Solving

GEAR 18 56 60 66 72 76

Page 56

NEW GEAR Moog Music MINIMOOG VOYAGER XL Hammond SK1 Steinberg CUBASE 6 Mobile App of the Month MORPHWIZ Roland RD-300NX

KEYBOARD (ISSN 0730-0158) is published monthly by NewBay Media, LLC 1111 Bayhill Drive, Suite 125, San Bruno, CA 94066. All material published in KEYBOARD is copyrighted © 2011 by NewBay Media. All rights reserved. Reproduction of material appearing in KEYBOARD is forbidden without permission. KEYBOARD is a registered trademark of NewBay Media. Periodicals Postage Paid at San Bruno, CA and at additional mailing offices. POSTMASTER: Send address changes to KEYBOARD P.O. Box 9158, Lowell, MA 01853. Canada Post: Publications Mail Agreement #40612608. Canada Returns to be sent to Bleuchip International, P.O. Box 25542, London, ON N6C 6B2.

TIME MACHINE 82

Clonewheel Organs we’ve known and loved. . . .

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Exclusive interview with the Flaming Lips! 6

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Evan Bogart talks songwriting, keyboards, and production.

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Vol. 37, No. 11 #428 NOVEMBER 2011 EDITOR: Stephen Fortner [email protected] MANAGING EDITOR: Debbie Greenberg [email protected] ASSISTANT EDITOR: Lori Kennedy [email protected] EDITORS AT LARGE: Craig Anderton, Jon Regen EDITORIAL INTERN: Sebastian Fotouhi SENIOR CORRESPONDENTS: Jim Aikin, Tom Brislin, Ed Coury, Michael Gallant, Robbie Gennet, Scott Healy, Peter Kirn, Mike McKnight, Dominic Milano, Franics Preve, Ernie Rideout, Mitchell Sigman ART DIRECTOR: Patrick Wong [email protected] MUSIC COPYIST: Matt Beck PRODUCTION MANAGER: Amy Santana GROUP PUBLISHER: Joe Perry [email protected], 770.343.9978 ADVERTISING DIRECTOR, NORTHWEST, MIDWEST, & NEW BUSINESS DEV.: Greg Sutton [email protected], 925.425.9967 ADVERTISING DIRECTOR, SOUTHWEST: Albert Margolis [email protected], 949.582.2753 ADVERTISING DIRECTOR, EAST COAST & EUROPE: Jeff Donnenwerth [email protected], 770.643.1425 SPECIALTY SALES ASSOCIATE, NORTH: Contessa Abono [email protected], 650.238.0296 SPECIALTY SALES ASSOCIATE, SOUTH: Donovan Boyle [email protected], 650.238.0325 MUSIC PLAYER NETWORK VICE PRESIDENT: John Pledger VICE PRESIDENT, PUBLISHING OPERATIONS: Bill Amstutz EDITORIAL DIRECTOR: Michael Molenda SENIOR FINANCIAL ANALYST: Bob Jenkins PRODUCTION DEPARTMENT MANAGER: Beatrice Kim DIRECTOR OF SALES OPERATIONS: Lauren Gerber WEB DIRECTOR: Max Sidman MOTION GRAPHICS DESIGNER: Tim Tsuruda MARKETING DESIGNER: Joelle Katcher SYSTEMS ENGINEER: John Meneses NEWBAY MEDIA CORPORATE PRESIDENT & CEO: Steve Palm CHIEF FINANCIAL OFFICER: Paul Mastronardi CONTROLLER: Jack Liedke VICE PRESIDENT, DIGITAL MEDIA: Joe Ferrick VICE PRESIDENT, AUDIENCE DEVELOPMENT: Denise Robbins VICE PRESIDENT, CONTENT & MARKETING: Anthony Savona VICE PRESIDENT, INFORMATION TECHNOLOGY: Greg Topf VICE PRESIDENT, HUMAN RESOURCES: Ray Vollmer REPRINTS AND PERMISSIONS For article reprints please contact our reprint coordinator at Wright’s Reprints: 877.652.5295 SUBSCRIPTION QUESTIONS? 800-289-9919 (in the U.S. only) 978-667-0364 [email protected] Keyboard Magazine, Box 9158, Lowell, MA 01853 Find a back issue 800-289-9919 or 978-667-0364 [email protected] Publisher assumes no responsibility for return of unsolicited manuscripts, photos, or artwork.

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COMMUNITY From the Editor “If the spirit of liberty should vanish in other parts of the Union, and support of our institutions should languish, it could all be replenished from the generous store held by the people of this brave little state of Vermont.” —President Calvin Coolidge, September 21, 1928 “It was amazing and inspiring to see so many people come together through music to aid the great state of Vermont. We’re so grateful to the businesses and individuals that helped us raise as much money as possible for the recovery process.” —Trey Anastasio of Phish, September 14, 2011

BANDS DOING GOOD

The last time I wrote about my home state of Vermont in these pages, I was poking fun at Christopher Kimball’s editorials in Cook’s Illustrated. This time, the reason is serious, though thanks to the power of music, there are the makings of a happy ending. What the two quotations above have in common is that they were both spoken about natural disasters that devastated Vermont’s people, transportation, and economy. Coolidge, a Vermont native, had been touring the state to assess recovery about a year after the worst flooding in Vermont’s history. The President everyone called “Silent Cal” was moved to words by the way people pulled together to help each other. Anastasio was speaking just after a concert that he and his bandmates in storied jam-

On September 14, 2011, the band Phish played their first live show in their native state of Vermont in seven years, with all proceeds benefitting people affected by hurricane Irene. The concert raised over $1.2 million, and the band sent us these photos to share. —Ed.

Page McConnell mans his Yamaha C7 piano topped with a Clavinet D6. Between him and guitarist/vocalist Trey Anastasio is a Moog Little Phatty atop a Hammond B-3 organ, and behind him sits a Yamaha CS-60 atop a Rhodes.

Photos by David Vann

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rock group Phish had quickly organized in the aftermath of hurricane Irene—which unleashed most of her destructive force on Vermont even as all eyes were on New York City. The benefit concert drew over 12,000 attendees to the Champlain Valley Fairgrounds—some driving cross-country in hopes of scoring a ticket outside the gates. When all receipts were tallied, the take was over $1.2 million. Phish’s office tells us that because major donors underwrote concert expenses, all of that will go to flood relief via the Vermont Community Foundation and Phish’s own charitable organization, WaterWheel. Phish weren’t alone in their efforts. Vermont Public Radio raised $610,000 for Irene relief in a single day. At press time, Grace Potter (our May 2011 cover artist) had a benefit concert scheduled for October 9. All across the state, musicians, artists, and media folks have been stepping up, which I got to see for myself on a recent visit. I’d like to thank Phish for putting the show together and for sending us the photos below. Whether you’re a Vermonter or part of a different community that needs help in the wake of Irene, remember that as a musician, you have both the means and the spirit to bring people together and do something awesome. High-profile acts like Phish and Grace Potter may do it on a larger scale, but the example that they set for the rest of us is every bit as important as the dollar amount raised.

11.2011

The

Poll

After your keyboard instruments and computer, what’s the next most important piece of gear in your studio?

Audio interface

40%

Monitor speakers Mics and front-end gear Analog or digital mixer Acoustical treatment

39% 10% 8% 3% To catch up on previous episodes of the Packrat and his time-traveling keytar, visit keyboardmag.com/packrat.

Left to right: PageMcConnell, Trey Anastasio, Mike Gordon, and Jon Fishman take the stage at Vermont’s Champlain Valley Fairgrounds.

Over 12,000 fans came from as far away as California and Colorado to be a part of Phish’s benefit concert for hurricane relief. 11.2011

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KEYNOTES

KEYNOTES

KEVIN ROTH On Making Children’s Music Interesting Think children’s music is all about purple dinosaurs and insipid ear-worm melodies? Think again, says keyboardist, dulcimerist, singer, and composer Kevin Roth, who has released more than 40 children’s and adult albums on labels such as Sony, PBS, and Random House as well as his own label, My Quiet Times. Rather, Roth says, the kids’ music game is won via equal parts creativity and honesty, with a healthy dose of business persistence thrown in. Rather than digging into children’s music from day one, Roth first established his name in the world of folk music. “I made my first album on the dulcimer and started to become known for playing that instrument and singing,” he says. “Smithsonian Folkways was looking for a new dulcimer player to record and I came along. I was this precocious 14-year-old who was playing unusual pop repertoire at live concerts, and they took me.” His big break in the world of children’s music came courtesy of a fortunate PBS gig. “I had made a handful of children’s records, and my Lullabies for Little Dreamers album caught the ear of a producer at PBS,” he says. “He hired me to sing the theme song for the show Shining Time Station, and it grew from there. I was lucky to catch the wave of children’s music that was happening at the time, so when people like Raffi began selling lots of records, I came along and started working with Sony and Random House as well.” As a children’s music composer, Roth has won awards from the American Library Association and Parent’s Choice, while Parents magazine described one of his albums as “everything children’s music should be.” His current children’s projects include a series of book-and-CD sets called Tales of Wabby. With music written on piano and recorded with voice, piano, and dulcimer, Wabby tells stories that captivate children and packages Roth’s music in an intriguingly business-friendly form (more on that later). Based on Roth’s business and creative experience, here are some tips to help you make your own children’s music—or any sort of music, for that matter.

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Use unique instruments, or playing styles, to develop your signature sound. Roth was 13 when he first saw a lap dulcimer performed live, though he’d heard the sound before on Joni Mitchell’s Blue. “It was modal and I understood it technically, based on what I’d learned about playing piano,” he says. “I fell in love and it became my portable piano.” Roth started adapting Joni Mitchell tunes, as well as songs like “Over the Rainbow” and “Amazing Grace,” to the new instrument the only way he knew how. “I played dulcimer like I play piano,” he says. “I imagined a full piano accompaniment. Since most dulcimer playing is relatively simple, traditional repertoire, nobody had heard it played like that before. People thought I was a genius, but I just didn’t know any better.” [Laughs.] These days, Roth uses both instruments to create his unique sound in the studio. “I often track with dulcimer then overdub piano to sweeten everything,” he says. “Piano is always in there, in one form or another.” Experiment with writing on one instrument and performing on another. “Piano is the first instrument I ever played,” Roth says. “I used to come home from elementary school and just try to figure out melodies. I couldn’t read or write music in traditional notation, so I used to take my mother’s lipstick and write numbers on the keys—1, 2, 3, 4—and then write them on paper in order. That was my notation.” Decades later, Kevin still writes at the piano (albeit with no lipstick on the keys)—but given his fluency on both instruments, he often performs those same songs live on dulcimer, especially when pianos aren’t available. “When I was young, I remember hearing McCoy Tyner play dulcimer,” he adds. “He used it in a modal way. It was very inspiring.” [To hear McCoy on dulcimer, check out “Mode for Dulcimer” off of his 1976 album Focal Point. —Ed.] Make kids’ music that parents will like. When it comes to creating music that you can sell, keep your prospective customers in mind. “Twoyear-olds don’t have credit cards,” Roth says. “So if your music isn’t tolerable to parents, they’re not going to buy it for their kids. There’s a lot of horrible music for kids out there that parents just can’t stand.” Make kids’ music that you like. “A lot of children’s music sounds the same because people try to make it sound like every commercial kids’ song they hear,” Roth says. “I write for preschoolers, and the kids are really honest. If they don’t like you, they tell you, so I try to keep everything honest and original. If it isn’t amusing to me, I don’t do it.” Consider using a theme. If you’re having trouble getting started writing children’s music, a good place to begin can be with a character, or set of characters, à la Roth’s Wabby. A second strategy is to focus on a unifying theme rather than a fuzzy critter. Another of Roth’s current projects, for example, features a combination of nursery rhyme instrumentals mixed with relaxing nature sounds. “It’s hard to listen to all 22 tracks in a row,” Roth says of the lullaby-branded disc. [Laughs.] “It really makes you fall asleep.” Create a physical product. “You can’t autograph a download,” Roth says. “Especially at live shows, people still want to buy an artist’s product. That’s the nice thing about children’s books with CDs attached to them, like the Tales of Wabby series.” He further asserts that CDs

Though he often plays acoustic pianos at live shows, Roth composes primarily on a Yamaha Arius digital piano at home. “It’s got a nice touch, and the ability to record demos in it is really useful,” he says. Though he’s owned vintage, rebuilt Steinways and Baldwin acoustic grands before, Roth currently appreciates the portability—and small physical footprint—of the Arius above all else. In addition to his acoustic piano work, Roth plays the diatonically tuned mountain dulcimer and the hammer dulcimer, bringing a distinctly pianistic aesthetic to both instruments. As the name implies, strings on the hammer dulcimer are struck rather than plucked, making it a unique “forerunner for the piano,” Roth says. Like the piano, strings are grouped in sets of two or more, each group tuned to unison, to help the instrument sound with more volume. Pictured at bottom is the “guitarcimer,” a more portable, custom instrument that Roth helped design for his live gigs. remain an important tool for networking and self-promotion: “CDs are essentially the new business cards.” Play live for kids. Not only will you quickly learn what kids like and don’t like, you’ll also get more gigs and, hopefully, make more money. “You can get a million hits on YouTube these days and not really know if it means anything,” he says. “I’m going back to what I did years and years ago—playing at libraries and schools, as well as concert halls, when budgets exist for that. It’s a very down-to-earth thing to do.” Use social media with a long-term view. “When I used to make records, it was a big deal: ‘Wow, he’s a recording artist!’” Roth says. “Now, anybody can record anything, get a Facebook page, and in a week, be a ‘star.’” The problem is, such notoriety doesn’t necessarily last once the initial ego boost wears off—and Internet fame doesn’t necessarily make for a solid career foundation. “Keeping a useful, visible presence on the Internet takes maintenance and stamina, and most people just don’t want to put in the work after a while,” he says. “If you are willing to put in the time and attention to keep things going, it can be a very useful tool for children’s music and beyond.” Michael Gallant Paul Stookey of Peter, Paul, and Mary talks about Kevin Roth.

11.2011

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KEYNOTES

VINCENT SOYEZ

DAN TEPFER Variations on Variations “I’ve always thought that it was kind of a Holy Grail to be able to squeeze the maximum amount of music out of the minimum amount of material,” says renowned New York jazz pianist Dan Tepfer, who was voted one of the best new artists of 2010 in the JazzTimes annual Critics’ Poll. With Tepfer’s newest release, Goldberg Variations/Variations, the pianist puts his theory into action, playing the original, revered variations by Bach and alternating them with his own improvised interpretations. Based on Tepfer’s experience recording the highly creative Goldberg Variations/Variations, here are some tips to help you build your own original variations on a theme—and make classic pieces of music truly your own. Play through a creative filter. “Fred Hersch once asked me to play Thelonious Monk’s ‘Pannonica’ several different times while thinking of various words, like ‘regal,’ ‘pointy,’ and ‘drunk,’” Tepfer says. “That was kind of a revelation to me—how the same material could turn into dramatically different things.” When creating your own variations, the same strategy can push you in new directions. “Try using various words, moods, or images when you play the same piece,” Tepfer says. He recommends playing a tune like “All the Things You Are” while imagining a car race, a sunset in the mountains, a politician’s speech, or something equally rich in emotion. “Try thinking of evocative words like ‘sarcasm,’ ‘beaming,’ or ‘cathartic,’” he continues. “All of those should lead you to play a specific variation of a song.” Do your homework. When it comes time to create variations on a theme, deep knowledge of the subject matter can be a blessing. “Take the time to really get to know the piece,” Tepfer says. “Don’t just learn the notes; learn the performance history. Read about the composer. Get a feel for what the work is about.” Change a musical element. To push a piece of music into a new orbit, Tepfer recommends making choices that will be structurally disruptive—make all of the chords in a song augmented, repeat every line you play once, jam with a specific groove in mind, or play everything with two contrapuntal lines at all times. “Any idea that is strict while leaving you a good amount of freedom will generate its own variation,” he says. Go with the flow. As with many things creative, becoming fixated on a concrete end point can stifle some of your most original impulses.

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Instead, see where your fingers take you. “In my case, I didn’t set out to update a classic work,” Tepfer says. “It happened organically. I was studying the Goldberg Variations because I love them and, after a while, it just seemed natural to improvise on them.” Mix it up and think big. When you’re creating variations, try thinking of them in terms of an overall composition. “If you played two short variations of “Solar” [a standard by Miles Davis] that are each exciting and fast-moving, it might be time to play an ultra-slow, dirge-like variation next,” Tepfer says. He recommends studying classic theme-and-variation sets by Mozart and Beethoven as expert examples. “Notice how intelligently the variations follow each other. If done right, each variation calls for the next. By the end, we feel like we’ve checked out every possibility contained in the theme.” Keep it fresh. If you’re improvising your variations as Tepfer did on Goldberg Variations/Variations, stay in the moment as much as possible. “Most of [my variations] were first takes, the way they first came out,” he says. “If I start planning this stuff out too much, I find that it becomes less and less alive.” Take your time. Making a great work your own can take years. “Don’t force it,” Tepfer says. “A work of art is like a person. If you’re too forceful, it’ll turn away.” Michael Gallant Dan talks at further length about adapting the Goldberg Variations.

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KEYNOTES

EDITORS’ PLAYLIST

Stephen Fortner

Lori Kennedy

MIKE GARSON The Bowie Variations One of the most preternatural talents of our time returns with this 11-cut set of solo piano improvisations on the classic songs of his lifelong bandmate David Bowie. The familiar melodies and chord changes make Garson’s note-dense style more accessible to the as-yet-uninitiated, and the stylistic ground traversed in every tune will have you nudging your playback cursor to the left as you exclaim, “Wait, you missed the good part!” Only it’s all the good part. Highly recommended. (Reference Recordings | mikegarson.com) TEDDYBEARS Devil’s Music I’ve always thought of these enigmatic Swedes as sort of a Daft Punk with a broader musical base and a more whimsical sensibility. From the crunchy, distorted Wurly chords that kick off the hooky opener “Rocket Scientist,” you’re in for a party. Other highlights include the Flaming Lips joining in on the MGMT-esque anthem “Crystal Meth Christian,” and Cee-Lo rapping affectionately about a housecat as the B-52s sing backup on “Cho Cha.” At once danceable, cerebral, and fun, fun, fun. Devil’s Music could be “hipster” if it weren’t so damned good. (Big Beat | teddybearsrock.com) HEIDECKER & WOOD Starting From Nowhere Taking a break from the nonsequitur humor of Adult Swim’s Tim and Eric Awesome Show, Tim Heidecker and show composer Davin Wood serve up sometimes funny, sometimes serious, always memorable pop originals. While the bouncy “Right or Wrong” could be Joe Jackson backed by Barenaked Ladies, tracks like “Right to the Minute” draw expertly on ’70s soft rock (think Little River Band or Orleans), without sounding clichéd. This is impeccable pop songcraft cleverly disguised as a novelty album, and the most pleasant surprise to grace my CD player all year. Great job! (Little Record Company | heideckerandwood.com)

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Sebastian Fotouhi

BALAM ACAB Wander/Wonder Swirling synth textures, sparse percussion, vinyl crackles, and hushed bubbles splash and wash over all the tracks on Wander/Wonder. Listen to this one loud so you don’t miss any of the gorgeous sounds gracing the debut from 20-yearold Alec Koone. The album has a dream-like quality, with touches of recognizable sounds and echo-y voices fading in and out throughout. There’s also an underlying buzzy-synth that drifts into most tracks, making Wander/Wonder an aural tease. I’m eager for Koone’s next project. (Tri Angle | myspace.com/thebalamacab)

SOFT METALS Psychic Driving Soft Metals is Patricia Hall and Ian Hicks, and with this debut album, the duo draws listeners in with a mellow, spacey synth fronted by Hall’s siren-like singing. Each song has an ’80s dance beat supporting haunting synth sounds, creating an irresistible draw to move with the music. The soundscapes on tracks like “Psychic Driving” are quite out of the ordinary for today’s artists; if I’d initially heard this song on the radio, I’d think it came straight out of the ’80s. (Captured Tracks | myspace.com/softmetals)

DJ SHADOW The Less You Know, the Better It’s been five years since his last album, but instrumental hip-hop king DJ Shadow has hit the decks smoking again with TLYK, TB—created entirely in the box with samples but sporting analog sounds. “Sad and Lonely” features vinyl hiss, pops, and cracks in all the right places; “Warning Call” sounds like Shadow recorded an indie-rock band in the studio; “Back to Front” features Shadow’s signature swagger-laden beats; and “Circular Logic” is heavy on expert scratches. A warm, scratchy, bass-y delight. (Verve | djshadow.com)

DARK LOFT Dark Loft These five friends are onto something great with their blues/rock debut. “Rose and Gold” is a standout track, with its enticing guitar and keyboard riffs that rise to the fore with a confident jump from rhythm to lead. The smooth and unassuming keys are rhythmically tight and deft during solos. Keyboards are present throughout the disc, lending the rhythm section a hand. Tonality of the keys focuses on gospel-like organ or open-top acoustic piano, giving each song a full, wide feel. Nicely done. (myspace.com/jcdarkloft)

HAIL MARY MALLON Are You Gonna Eat That? Quintessential underground MC Aesop Rock joins fellow basement-dwelling comrades Rob Sonic and DJ Big Wiz to form Hail Mary Mallon. Rock and Sonic engage in a battle of insane rapping while Wiz provides skillful scratches and samples. Don’t be fooled by the good-time vibe—there’s nothing “silly” about this album. These three are serious pros and excellent at their craft. “Church Pants,” “Meter Feeder,” and the ultra-fun “Breakdance Beach” are must-listens. (Rhymesayers | rhymesayers.com/hailmarymallon)

MOCEAN WORKER Candygram for Mowo! Adam Dorn (a.k.a. Mocean Worker) lays down sweet beats on his latest jazzed-out endeavor, Candygram for Mowo! With jazz horns and drums, this upbeat album inspires serious bouts of foot-tapping. The uplifting keyboard riffs throughout are all catchy and fun. The light high end of the keys and swinging beat give the song “Sistas and Bruthas” a superhappy vibe. I don’t listen to a lot of jazz, but this album is definitely going on my music player. (!K7 | moceanworker.com)

11.2011

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NEW GEAR

by Lori Kennedy

NOVATION IMPULSE Concept: MIDI controllers with Automap and drum pads. Big deal: Aftertouch. Endless knobs. Full transport control. Nine assignable buttons and 55mm faders. Comes with Automap 4, Ableton Live Lite, Novation BassStation, and 1.5GB of samples. We think: These offer a lot of what we like about the SL Mk. II—and better pads—in a simpler, more affordable form. List (25/49/61 keys): $329.99/$449.99/$499.99 | Approx. street: $250/$350/$400 | novationmusic.com

M-AUDIO KEYSTATION MINI 32 Concept: Ultra-portable USB MIDI keyboard controller. Big deal: Low-profile mini-keys. Knob and buttons are assignable. Plug-and-play iPad compatibility. Selectable velocity curves, including one for drum programming. We think: With half an octave more keys than an Akai LPK25 and half an octave less than a Korg MicroKey, it seems there’s a mini controller to fit any laptop bag. List: $99.99 | Approx. street: $80 | m-audio.com

RADIAL ENGINEERING PHAZEQ Concept: Phase correction module for the Workhorse 500 system. Big deal: Both a phase-correcting tool and a summing equalizer. Phase-align any two signals for proper tone, or create insane EQ curves. Discreet analog, Class-A circuitry. We think: The Workhorse is the best value going in a customizable “lunchbox” of recording gear, and this makes it even more flexible. List: $350 | Approx. street: $300 | radialeng.com

DLQ KEYB EXPANDER Concept: Self-contained clonewheel organ module. Big deal: Reproduces all nuances of a tonewheel organ, including crosstalk, tonewheel flutter, voltage robbing, and foldback. Great rotary simulation. Upper, lower, and pedal parts, each with its own drawbars. We think: This is effectively a KeyB Duo (what Joey DeFrancesco tours with) sans keys—perfect if you need full organ but don’t have room for more slabs. List: $1,999 | Approx. street: $1,700 | keyborgan.com

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CINEMATIQUE INSTRUMENTS DRUMBOXES Concept: Drum modules for Kontakt. Big deal: Each sound in a kit has four layers, each with adjustable volume and duration. Built-in 16-step sequencer. We think: Currently, two Drumboxes are available: Rude Boy and Electro Partner. Those names alone make us want to rock out with our . . . well, you get the picture. Direct: $49 each | $70 bundled | bettermusicdistribution.com

ALTO PROFESSIONAL LIVE 88 Concept: Full-length, semi-weighted MIDI controller. Big deal: Keyboard is a great-feeling middle ground if your duties involve both piano and synth. Sustain pedal input. Solid construction aimed at being on the road. We think: This looks almost identical to the Z-Key from CME, yet costs less. We wonder if that has anything to do with Alto being bought by the Alesis/Akai/Numark folks earlier this year. List: $499 | Approx. street: $400 | altoproaudio.com

KORG MICROARRANGER Concept: Miniature arranger workstation keyboard. Big deal: Same velocity-sensitive mini keys as MicroKorg XL. Stereo speakers. Four effect slots, 304 accompaniment styles (each with intros, endings, fills, and four variations, all editable), 660 factory sounds, and 128 user programs. We think: Arranger keyboards can be powerful songwriting aids, and now you can put that power in your backpack. $TBD | korg.com

NATIVE INSTRUMENTS MASCHINE MIKRO Concept: The pad-based interface and groove-oriented host software of Maschine, now in a fun travel size. Big deal: Velocity- and pressure-sensitive pads. Comes with full Maschine software and 6GB of sounds. Expandable via Maschine Expansions and the free Komplete Elements library. We think: The full-sized Maschine is an absolute blast, and this will bring it to tight DJ booths and even tighter budgets alike. List: $399 | Approx. street: $TBD | native-instruments.com

See press releases about new gear as soon as we receive them at keyboardmag.com/news. 11.2011

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