Both NAMM and the APRS show this year had an emphasis on MIDI programmability, and synchronisation in both effects and recording gear.

Akai gave an impressive showing of new products. On the recording side we saw the advanced SMPTE-compatible 12-channel mixer/14-track recorder (the recorder part of which is also available in a rack mounting format), and the exciting new 6-channel/4-track standard cassette recording system which boasts a multi-function autolocate, sync track, DBX Type 1 noise reduction, 4.75cm/sec or 9.5cm/sec speed and a 6-channel mixing console with 2-band parametric sweep EQ.

Also of interest on the recording side were the new ML14 autolocate, the MPX820 fully programmable and MIDI-compatible 8-channel mixing console, and the GX912 master mixdown cassette. The MPX820 stores all front panel functions including levels, sends, returns, aux inputs, pans and 3-band EQ.

Not content with their attempt to dominate the home recording market Akai have extended their range of samplers (which already includes the S900) with two more sampling keyboards. The X7000 is 6-voice MIDI multiple point sampler with built-in disk drive. Variable sampling rate is 4kHz-40kHz, and the sampling time is 8sec-0.8sec. The X3700 is a 4-voice version with full compatibility to all Akai S612 format disks.

Akai also showed their rack-mounting ME20A MIDI sequencer/arpeggiator, ME15F MIDI dynamics controller, ME25S MIDI-programmable note separator, ME30P Programmable MIDI patchbay, ME10D digital delay, and entered the compact effects market with the new EX65D digital delay, EX70C compressor/gate, EX75P Parametric, EX80N noise reduction, and EX85E enhancer... enough said!

AKG microphones, stands, and headphones stand included their new non-reflective finish models the D310, 321, 330, 112 (new bass drum model with 4kHz rise), and G410 (headset type). The K-240 series headphones were designed to meet IRT standards and have an excellent flat frequency response (±2dB).

But AKG have also moved into the field of effects with their ADR 68K digital reverb and effects processor which can be remote or MIDI-controlled, and also offers sampling for up to 8S at 15kHz bandwidth. The eight seconds may be broken up into four sections of two seconds each and they can then be triggered independently or simultaneously via MIDI or via the four 1/4" trigger jacks on the remote.

From Alesis comes the Midifex which offers single, double and triple tap delays and various reverb programs. There are 47 programs of delay, in addition to 16 digital reverb programs and should retail for around £300-£400.

Alesis also have a MIDI control unit which can address 16 MIDI channels and 99 patch changes.

ADA demonstrated their new range of effects which included a programmable harmoniser, digital delay, non-programmable multi-effects, MIDI programmable stereo equaliser, and of interest to guitarists, a MIDI-programmable tube pre-amp with three gain stages, 128 programs, and programmable effects loop with delay and chorus.

AMR, the multitrack recording people, showed their 4-track cassette recorder with optional overdubber pedal remote, monitors, microphones and power amps.

Crown, well known for their power amps also displayed their interesting range of PZMs and miniature unobtrusive GLM series mics.

More signal processors, this time on the Digitech stand included the interesting MIDI Master 5000 pitch to MIDI convertor which allows you to interface almost any acoustic instrument to MIDI equipment, and MIDI Master 7000 guitar to MIDI interface.

DBX showed their range of effects which includes noise gates, dynamic range expanders, de-essers, compressor/limiters, program route selectors and of course noise reduction. All the effects are also available as part of the 900 series Modular Signal Processing System.

Wandering next to the Fostex stand H&SR saw the new E series of professional tape machines. The E16 is a new and improved version of the successful B16, finished in black with microprocessor-controlled transports and record/play logic so the user can run computer derived edit decision lists. The E16 also has a frequency response that extends up to 20kHz. Also in the E series and much the same size as the E16 are the ¼" format 8-track machine and two stereo machines running on ¼" and ½" tape and featuring a third centre track for SMPTE control.

Fostex also introduced the FAME (Fostex Automated Media Editing) System. This is a software program designed for Apple IIC and IIE personal computers (although we understand that versions for the Macintosh and various IBM PCs will soon be available. With FAME, a personal computer and the Fostex 4030 synchroniser audio assembly editing is possible as it stores sound effects, cues and so on.

Finally from Fostex come the Regulated Phase Planar Loudspeakers. The RP1001 and RP2001 have long excursion edgeless woofers and resemble a conventional cabinet with what looks like an aerodynamic fin on the top. The RP series employs an extremely thin and lightweight diaphragm whose entire effective plane is driven at the same phase. Its resulting characteristics are a flat frequency response, high definition, superior transient response, low distortion, and good front to back depth perception. The more modest RP60 and RP80 are 2-way systems with 6.5" and 8" woofers.

Furman revealed their new RV-3 Digital reverberation system, and their one unit combination expander/compressor/limiter.

Gold Line displayed their real time analysers and accessories including the hand-held ASA10.

Rack mounting mixers are now becoming increasingly popular and Hill Audio exhibited 16-2-1, 12-4-2-1, and 16-4-2-1 models alongside their more conventional types.

JBL's new desk-top monitors, called the Control 1 were worthy of attention and incorporate a 3/4" tweeter and a 5" woofer. Another new line for JBL are the 4406, 4408, 4410 and 4412 Studio monitors which deliver a smooth frequency response to beyond 27kHz due to the perfected process of using pure titanium in a ribbed dome tweeter.

From Korg this year at NAMM comes (surprise) a new digital reverb, but more interestingly a triple and dual digital delay. The SDD3300 has three delays in one rack mountable box. All parameters are programmable and the three units may be linked in any way desired, enabling 3-phase chorus/flanging, independent left and right stereo chorus with delay and so on. Up to 64 programs may be stored in the memory and each unit can be used for sampling (with a maximum time of 1S) and played from a MIDI keyboard. The SDD1200 dual delay is not programmable.

Also new from Korg are the DSS1 Sampling synthesiser and the DD1 sampling drum machine. The DSS1 gives you 5.5S of sampling time at the maximum sampling rate of 48kHz, or up to 16S at 16kHz. Additionally you can alter the waveform, or synthesise waveforms from scratch by specifying the levels of 128 harmonics. Up to 32 programs can reside in the internal memory or stored via the on-board 3.5''' disk.

The DD1 MIDI drum machine features eighteen drum and percussion sounds and offers greater flexibility in dynamics. The loudness of each drum depends on how hard you strike the key, and the pitch and decay of each sound may be individually set. An optional sampling board allows you to sample your own sounds. It has an unusual way of storing samples, using individual ROM and RAM cards for each drum and should sell for about £700.

Kudos exhibited their range of small full range drive units and enclosures for PA and live monitoring use.

Maartists new reliable RAM cartridge will hold 160 DX7 voices or 80 CZ101 voices and cost about the same as the standard RAMs. Whether they'll be available over here remains to be seen but here's their address: Maartists Inc, (Contact Details).

Rane displayed their range of graphics, parametrics, real time analyser, crossovers, mixers and amps. Also on show was the new model MP24 program mixer/preamplifier.

New product news from Roland include a competitor for the SPX-90 in the form of the DEP-5 digital effect processor. It offers programmable reverb, delay, equaliser and chorus and features a 16-bit A/D-D/A convertor. The DEP-5 can store up to 99 front panel control settings which can be accessed by footswitch or MIDI.

On the keyboard front there are two new sampling keyboards and the rackmounting Super JX. The S-50 has a velocity and pressure sensitive 61-key keyboard, 32 envelope generators and 16 LFOs, features a built in disk drive and has a 512 K word memory to store up to 16 different sample sounds. The sampling rate can be set at 30 (15S) or 15kHz (30S). The S-10 is a budget version 8-voice with just over 4S of sampling at 30kHz and 8.8s at 15kHz. It also has a disk drive for a 2.8" quick disk.

Roland also exhibited three new drum machines. The CR-1000 has a sound quality similar to the Roland TR505 but is preset only with 24 kinds of basic rhythm patterns.

The DR-220A and DR-220E are programmable with acoustic and electronic voices respectively. They both feature 11 different digital sound sources, 64 rhythm patterns (32 preset and 32 programmable), and can store up to eight songs (each up to 128 measures in length). They don't have MIDI but both have trigger in and out jacks.

Other products from Roland included the MC500 micro composer and the GM-70 GR-MIDI convertor which allows a Roland guitar to play any MIDI keyboard. Good news for other guitar owners however in the form of the GK-1 synthesiser driver which converts a normal guitar into the Roland format and involves an easily installed pick up and controller package with no holes needing to be carved in the body.

New products from Boss include a Dr Pad electronic percussion unit, a pedal compression sustainer, and on the micro unit front Boss showed a new Digital Chorus Ensemble.

Sound and Vision showed the SV-1000 Mini Loc: a universal auto-locate with auto record (drop in) and auto loop features.

Toa unveiled the D4 and D4E 4-input stereo mixer and matching 6-input expander. Designed specifically for electronic music the D4 has in addition to it's mixer capabilities one MIDI In which is split into four MIDI Thrus.

Yamaha's new tone generator, the FB-01 is based on the tone generators found in the CX5. Retailing at under £250 it contains 240 pre-programmed FM voices, with an additional 96 user-programmable voice memories. Each of the FB-01's eight voices can be assigned to different MIDI channels. In addition Yamaha exhibited their new MZ range of microphones, five in all, designed to cover vocal and instrument miking.