So Brotha' Man John,
Tell us about NAMM, and Solaris.
Brotha' Man Carbon111 ( James ) is stoked.
What Say You?
SOLARIS @ NAMM '08
(Jimmy!! where were you? Did you come by when I was off to lunch?)
It was great! We had a lot of enthusiastic and interested persons there...if you could find our booth! Unfortunately, NAMM decided that there were no spaces for me, and put me on a waiting list, and then alerted me on December 7th that there was an available room where a few others and myself could go. They assured me there was no space on the main floor halls, nor in the smaller 'new developers" floor, Hall E. (Of course, when I went to Hall E on the last day to see Waldorf, there was a large 10 x 20 space across and down one from them! Never Again!!!)
Just across from us was Analogue Haven, and of course, they always drew an interesting crowd, many synth heads who could also enjoy the Solaris idea. One of them was doing a daily performance there about 5pm every day, and I didn't see until Day 2 that it was Richard Devine. After each show, he would basically take off with whomever it was with him, and he didn't seemed to even notice us.
It wasn't until the last day, Sunday, that I was packing everything up at 5pm, that Richard came in for something and noticed the Solaris. He quickly came over and, introducing himself, told me he had been looking all over for us! It was pretty ironic - there we were, just feet away from him every day! Oh well - he was quite interested in it, and put in a bid to make some factory presets.
We did have a fun time - most everyone was in a good mood, and those that I met were really friendly and for the most part, fairly knowledgeable. As a synth geek myself, I have the most fun explaining all the details of the Solaris functionality to fellow synth heads.
After I packed up on Sunday, I headed over to Santa Monica to talk with one of the biggest synth fanatics I know, Hans Zimmer. We spent about 3 hours going over the Solaris, and he invited me back the next day to show it to some of the other sound designers working there. (That was today, as I'm now writing this from my hotel in Santa Monica.) I met with Clay Duncan (working on Iron Man, which looks fantastic, and sounds great!), Howard Scarr, and Mel Wesson (Joerg Huettner was there in and out, and I didn't get to show it to him, but there's still tomorrow). They all offered some valuable input, and it was fun to watch each one's face as I explained things like having audio rate modulation everywhere, or the ability to modulate in feedback loops, etc.
There were a number of new pre-orders from the last few days, including one press person who came in at the end to video a spot about the Solaris - and ended up handing me a deposit check!
All in all, it was quite exciting, and now we have to prepare for Frankfurt - less than 2 months away (March 12-15)!!
john b.
It was great! We had a lot of enthusiastic and interested persons there...if you could find our booth! Unfortunately, NAMM decided that there were no spaces for me, and put me on a waiting list, and then alerted me on December 7th that there was an available room where a few others and myself could go. They assured me there was no space on the main floor halls, nor in the smaller 'new developers" floor, Hall E. (Of course, when I went to Hall E on the last day to see Waldorf, there was a large 10 x 20 space across and down one from them! Never Again!!!)
Just across from us was Analogue Haven, and of course, they always drew an interesting crowd, many synth heads who could also enjoy the Solaris idea. One of them was doing a daily performance there about 5pm every day, and I didn't see until Day 2 that it was Richard Devine. After each show, he would basically take off with whomever it was with him, and he didn't seemed to even notice us.
It wasn't until the last day, Sunday, that I was packing everything up at 5pm, that Richard came in for something and noticed the Solaris. He quickly came over and, introducing himself, told me he had been looking all over for us! It was pretty ironic - there we were, just feet away from him every day! Oh well - he was quite interested in it, and put in a bid to make some factory presets.
We did have a fun time - most everyone was in a good mood, and those that I met were really friendly and for the most part, fairly knowledgeable. As a synth geek myself, I have the most fun explaining all the details of the Solaris functionality to fellow synth heads.
After I packed up on Sunday, I headed over to Santa Monica to talk with one of the biggest synth fanatics I know, Hans Zimmer. We spent about 3 hours going over the Solaris, and he invited me back the next day to show it to some of the other sound designers working there. (That was today, as I'm now writing this from my hotel in Santa Monica.) I met with Clay Duncan (working on Iron Man, which looks fantastic, and sounds great!), Howard Scarr, and Mel Wesson (Joerg Huettner was there in and out, and I didn't get to show it to him, but there's still tomorrow). They all offered some valuable input, and it was fun to watch each one's face as I explained things like having audio rate modulation everywhere, or the ability to modulate in feedback loops, etc.
There were a number of new pre-orders from the last few days, including one press person who came in at the end to video a spot about the Solaris - and ended up handing me a deposit check!
All in all, it was quite exciting, and now we have to prepare for Frankfurt - less than 2 months away (March 12-15)!!
john b.
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ScofieldKid
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darker wood end caps
If you check any pictures of the proto Solaris from NAMM, you might notice that the wood end caps are darker than previously pictured with the lighter colored case. The original wood stain was a cherry wood, but before NAMM, I had the end panels stained a red oak, since I've had a number of comments about wanting a darker wood look with the dark case.
I'll try to post some better pictures here, or find some others on the Web.
john b.
I'll try to post some better pictures here, or find some others on the Web.
john b.
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irrelevance
