Mitchell Sigman talks about the innovative accelerometer control in the new Alesis Vortex Keytar Controller.
Watch for a full review in the June issue of Keyboard Magazine.
I am personally not very keen on keytars – I think they are quite a silly hybrid between the two and this one is not even a proper synth merely a controller, but for those of you who enjoy these, here’s a brand new one from Alesis featured at the ongoing WNAMM show:
Alesis Vortex, the first USB/MIDI keytar controller.
The Vortex offers an extensive array of touch-sensitive keys and velocity-sensitive pads on a pearlescent white body, and octave and pitch controls on its neck.
The Vortex includes features something that they say has never been found on any keytar before: both traditional MIDI and USB MIDI. This should let you use the Vortex with any MIDI hardware or software instruments on Mac, PC, and iPad. The Vortex also comes mapped for popular software synths and DAWs.
The Vortex also features a MIDI-assignable accelerometer – so you can control virtually any parameter by moving the Vortex’s neck: volume swells, amazing pitch bends, vibratos, filter cutoffs and more.
- The first USB keytar controller—works with all of your software instruments & synths on Mac, PC, & iOS devices
- USB and traditional MIDI jacks for use with virtually any synth, sound module, or other MIDI hardware or software
- Embedded, MIDI-assignable accelerometer for performance parameter control by tilting the neck
- Thumb-controlled volume slider, sustain button and pitch-bend wheel on neck
- Finger-controlled MIDI-assignable touchstrip, sustain, and octave-control buttons on neck
- 37 velocity-sensitive keys with aftertouch for compact, yet complete melodic range
- Eight velocity-sensitive drum pads/sample triggers enable you to create beats or trigger clips
- Large transport & patch-select controls for instant access
- Includes strap; standard guitar strap pegs are compatible with virtually any strap
- Bus powered when USB-connected to Mac or PC; battery compartment for use with MIDI modules and iOS devices
Check out Yoshiaki kicking in with Kitara, which was delivered to him only 2 weeks ago for beta testing.
The Misa digital guitar is an experimental new instrument, similar to an electric guitar in shape, but with an interface designed to easily and intuitively control digital audio.
Most musicians today use some form of audio synthesis or sampling in their music. Virtually any type of sound can be created using these methods. Traditionally, digital piano keyboards have been the dominant instrument for controlling these sounds real-time in a musical setting.
At Misa, we provide a new instrument that not only unites traditional guitar playing technique with digital sound, but allows digital guitarists to use playing techniques that are not possible or comfortable on a digital keyboard.
How it works:
The Misa Kitara consists of three main components: a full fretboard, a multi-touch screen and an onboard polyphonic synthesizer with sounds and effects. The kitara’s neck has 24 frets, but instead of strings each fret contains buttons. You play notes by touching on the screen. The position and movement of your touch determine how the sound is generated and processed. You can apply a number of digital effects, including distortion, delay and modulation, and you can control these effects through the touch panel interface. You can save sounds as presets, and you can swap preset files online. You can assign one sound to all six strings, or assign different sounds to different strings. The kitara can control compatible MIDI devices too. Everything is configurable. It runs Linux and is open source.
Ztar developer Starr Labs has introduced iTar, an upcoming controller app for iPhone and iPad:
We here at Starr Labs have been working on the iTar, a MIDI guitar/instrument application for the iPhone and iPad.
The more we labor over what we want the iTar to accomplish, the more we expand its scope of control, programmability, customization, and interactivity. Think pages of customizable control screen surfaces with dozens of controller and trigger types, arranged and implemented however you like.
That said, we invite any serious programmers/developers to join us in the iTar conversation.
Seriously, contact Harvey Starr harvey (at) starrlabs.com and be a part of the Starr Labs team that unveils the best MIDI guitar/instrument application onto the world, the iTar!
More info here: site.
The New Keytar Leads Collection on Ax-Synth comprehends many patch from Dream Theater inspiration and some good other patch too to perform the best live experience of your entire life!
You should be able to install quickly and easily thourgh any Ax-Synth Editor…only a few minutes and you’ll be ready to start!
Liquidator.a8e = Liquid style Lead
Liquidator 2.a8e = Another Liquid style Lead
Dv8 Lead.a8e = Lead Based on the Ytse’Jam Lead (Kevin Moore)
Dv8 Lead2.a8e = Variant of the Ytse’ Moore Lead
Wailing Keytar.a8e = Lead (solo) based on the Wailing Guitar Lead (from Jd-800)
Jd8 Groove.a8e = Wailing Keytar, Poly version
Waveblowbear Keytar.a8e = Pad style sound, based on the Metropolis PT1 intro (kevin moore)
Perc-Vox Stacs.a8e = Percussive sound, based on Learning to Live starting sound (kevin moore)
Shine on Me Crazy Keytar (Lead).a8e = Pad & Lead inspirated by Pink Floyd song)
Patched by S4K team
Performed by Ultimauro
Jan Hammer rocks out with his Fairlight and Yamaha KX5 remote keyboard on BBC Rock School series 2 from 1987
Jan Hammer (born 17 April 1948, in Prague, then Czechoslovakia, today the Czech Republic) is a composer, pianist and keyboardist. He is probably best known for playing keyboards with the Mahavishnu Orchestra in the early 70s, as well as his “Miami Vice Theme” and “Crockett’s Theme”, from the popular 1980s US television program, Miami Vice.
Hammer has collaborated with some of the era’s most influential musicians such as Jeff Beck, Al Di Meola, Mick Jagger, Carlos Santana, Stanley Clarke, Neal Schon, Steve Lukather, and Elvin Jones among many others. He has composed and produced at least 14 original motion picture soundtracks, the music for 90 episodes of Miami Vice and 20 episodes of the popular British television series Chancer.
His compositions have won him several Grammy awards.