Oct 12, 2006 6:47 PM, By the Mix Staff

PUTTIN' THE PRO BACK IN PRO AUDIO

After some drizzles and a somewhat wet start the first day, the 121st Convention of the Audio Engineering Society took off to become one of the best shows in years. In addition to the 400-plus exhibitors jammed into San Francisco’s Moscone Center, convention chair John Strawn and his entire hardworking committee put on a brilliant event, with an excellent lineup of sessions, papers and technical tours providing an astonishing array of opportunities for showgoers to keep up on the latest in audio technology.

Perhaps keynote speaker (producer/front-of-house engineer) Robert Scovill set the right tone when he talked about opportunities in the live sound industry, a theme reflected in the first live sound seminar, which focused on the “Business of Touring Sound.” Bringing a bit more business savvy into this world of audio engineering isn’t a bad idea at all.

Another welcome sign at AES was a healthy slate of tutorial programs, ranging from digital audio basics, mic techniques and digital interconnects, mastering and room acoustics/studio design. We aren’t all experts in every field, and AES provides an excellent platform to learn from some of the industry’s best and brightest. In another invaluable opportunity to learn first-hand from the experts, local pro audio dealer Cutting Edge presented a packed forum on equalizer design featuring Geoff Daking, Doug Fearn, Greg Gualtieri, George Massenburg, Rupert Neve, Malcolm Toft, Saul Walker and Paul Wolff.

Occasionally getting lost in the maze of upstairs meetings and demo rooms, one could sometimes miss-step and wind up in the "Plastic Surgery 2006" show in the adjacent Moscone North Hall. Maybe having that event next door was no coincidence. After all, this is the entertainment biz.

On the social side, AES week was packed with parties, concerts and fun events sponsored by manufacturers and local organizations, making this AES one to remember.

There were some cool celebrity sightings. For a minute, we thought we were at NAMM when we saw the huge line snaking around the Harman booth. But instead of a hair guitarist, there was Geoff Emerick signing copies of his book about recording The Beatles. And there were plenty of people heading up for the Steve Miller panel, where he talked about the 30th-anniversary 5.1 surround version of Fly Like an Eagle.

Speaking of Miller, he showed up at Saturday night’s TEC Awards to accept the Les Paul Award, and stayed on later to sit in on a screaming rendition of “Fly Like an Eagle” with the TEC house band, followed by a jumpin’ blues shuffle jam with ZZ Top guitarist Billy Gibbons. We’ll provide full coverage of TEC highlights in next month’s Mix. Meanwhile, visit mixonline.com/news/headline/2006-TEC-Winners-101006/ for a full list of the winners.

Saturday night may have been all about TEC, but with a shortened show, Friday was definitely the night to party-hop. Traveling at warp speed, we breezed through a handful of press conferences and then hit the soirees: Apogee threw a snazzy cocktail party at the W Hotel (our own Albert Margolis sat in to provide some musical entertainment!), Digidesign hosted an amazing press dinner at Azie, SSL held a bash at San Francisco Soundworks, Universal Audio packed them in at Asphodel Studios and the Recording Academy held not one but two events: a cocktail reception at Jillian’s and a killer Camp Freddy show (featuring local boys Joe Satriani and Lars Ulrich and Rob Trujillo from Metallica jamming with Slash, Duff McKagan, Mark McGrath and Scott Weiland) at the Warfield. Later that night, we headed to Digidesign’s Crystal Method show at Mezzanine and then to a Warfield after-party at Talking House, a new John Storyk (of Walters-Storyk Design Group) room South of Market (featured on our October 2006 cover). We wrapped it all up with early morning cheeseburgers and shakes at Mel’s Diner before calling it quits to get some beauty sleep before heading back to Moscone.

The 121st AES convention wrapped up on a high note. Exhibitors were pleased with the excellent turnout, both in numbers and in the quality of the attendees—with lots of serious users and fewer tire-kickers. Clearly, pro audio is back on track.

DAWS ALIVE!
Fairlight's DREAM II production systems may have changed all the rules of DAW/digital console design. The groundbreaking Crystal Core system used in DREAM II employs cutting-edge FPGA (Field-Programmable Gate Array) technology to redefine the price/performance ratio of digital production. A single CC-1 PCI card can handle 230 audio channels (each with eight bands of EQ and full dynamics control), 72 user-definable mix buses (mono to 7.1), 192-track recording, integrated HD video and up to 220 physical I/Os. Said to be eight times faster than high-end DSP-based DAWs, DREAM II drew packed crowds throughout the show.

Digidesign was previewing Pro Tools 7.3, which will be a Universal Binary release and offers user-interface improvements such as savable window sets and upgraded looping functions. The new version will also offer integration with Sibelius notation software, which was recently purchased by Digidesign.

Optimized for multi-core CPUs, Cakewalk's SONAR 6 Producer Edition is a powerhouse, taking a giant step ahead of earlier versions, with a new Synth Rack, high-performance VC-64 Vintage Channel effects, AudioSnap timing correction, Active Controller Technology for seamless mapping of external devices and more.

Steinberg's Cubase 4 represents another significant upgrade. The focus here was on improving audio quality (32-bit floating-point audio engine) and making it easier to use with SoundFrame, which combines track presets, instrument tracks and the MediaBay database for improved organization.

Synthax was showing V. 9 of Magix Samplitude and Sequoia. New features include a video engine (Sequoia), hybrid audio engine, advanced dual-CPU support, track and score editors, and tons of effects improvements and additions.

CONSOLES
Available with 48, 72 and 96 faders, SSL's Duality is a large-format analog console offering full DAW integration, a split signal path, E and G equalizers, onboard dynamics, moving fader automation and 5.1 panning—all with the SuperAnalogue K Series sound.

AMS-Neve celebrated its 45th anniversary by launching the PS/1 PowerStation, a single-user, slim-line, 384-path version of the DFC Gemini post console. The PS/1 integrates with Pro Tools, Nuendo or Pyramix environments as a combined digital console/DAW controller. Full surround monitoring and machine control are standard. As part of the fun, Neve also displayed a vintage MVC tube mixer, its second product.

Wunder Audio's Wunderbar is a 12 to 60- (or more) channel modular console design based on its popular PEQ1 preamp/EQ modules, with fully Class-A/transformer-balanced routing, comprehensive metering and a full master section. An ingenious new summing bus lets users choose a Neve, API or Wunder-flavored output.

Rupert Neve has returned to console manufacturing. Offered in expandable 16/32/48/64-channel versions, the Model 5088 from Rupert Neve Designs is a fully discrete, 8-bus mixer with 135 dB of dynamic range. RND also expanded its Portico Series with three new modules: a 2-channel mic pre/DI, a 5-band EQ and a stereo field editor.

The Tascam DM-4800 64-channel digital console has 24 buses, 12 auxes and 24 studio-grade preamps (more can be added via expansion cards), and can be completely repatched at the flick of a switch.

Yamaha has a free upgrade that's shipping with its DM2000 consoles, now monikered the DM2000VCM. It includes a suite of five plug-ins that emulate legacy processors and more.

There was big news over at Universal Audio, where the company announced a partnership with Euphonix founders Scott and Rob Silfvast to design the Desktop Console System (DCS) family of DAW “expansion and enhancement” products. The first two products in the DCS Series are the Remote Preamp, offering two trans-impedance–type mic preamps; a headphone amp with reverb and EQ (for monitoring only), plus MS decoder; and the Monitor Master, which will offer input switching and other monitor functions. These units combine a base station with a DCS-Link™-connected remote that keeps controls within reach.

Frontier Design Group turned heads with its AlphaTrack fader/DAW controller. This $249 USB bus-powered desktop control surface has transport keys, jog/shuttle, a motorized fader and touch-sensitive encoders. It's XP and OS–compatible for Pro Tools, SONAR, Cubase, Reason, Digital Performer, Nuendo and other apps.

STUDIO MICS
New mics just keep coming and coming. Designed for Podcasting, RØDE’s Podcaster end-address dynamic mic has a USB output, tailored-for-voice response and a built-in headphone amp for monitoring. Another new USB design, the $149.95 MXL.006 from MXL Microphones is a cardioid mic with onboard 3-position pad and large-diaphragm condenser capsule. SE Electronics showed a clever dual-output condenser mic that works either in the traditional sense via an XLR or through a USB port that powers the mic and connects to your DAW. It also has a headphone output with a knob that lets users choose the direct vs. mix output to the cans for zero latency monitoring.

The David Royer–designed MA-200 large-diaphragm condenser mic from Mojave Audio uses Jensen transformers and military-grade JAN 5840 tubes for an open, airy top end. And Mojave’s MA-100 small-diaphragm tube mic is $995, including cardioid and omni heads. Based on the famed M49, Wunder's CM49 multipattern tube mic comes with the original AC701K tube and M7 capsule. The power supply on Chameleon Labs' TS-2 can alter the capsule voltage, offering users the ability to tweak the mic’s sonic characteristics. Chameleon also debuted the TS-1 small-capsule tube mic, which accepts AKG 451E capsules and pads.

Crowley and Tripp's $745 Naked Eye high-output/low-noise ribbon mic features a bright-side/dark-side design for choosing the color of your recording by simply rotating the mic to the other side.

Telefunken RM-5C cardioid ribbon mic features a frequency response of 30 to 18k Hz and a sweet spot that hugs the mic, making it perfect for upclose work. Telefunken’s new CM 7151 mic is based on the historic R.F.T. “bottle” mic and comes with a NOS Telefunken EF12 tube and a new M7 interchangeable capsule, and accepts Neumann M7/M8/M9 heads and newer lollipop capsules from BLUE and JZ/Violet.

Red Microphones’ new Type A tube mic lets users attach a variety of Red capsules along with compatible capsules from BLUE.

Korby Audio showed a dual tube, bottle mic amplifier with a line-level output that works with its KAT-series interchangeable capsules.

A new grid for DPA's 4003, 4006, 4051, 4052 and 4053 mics alters frequency response, making the mics more versatile than ever.

Charter Oak Acoustic Devices offers a program allowing its mic owners to have their tube or solid-state condenser mics customized post-purchase, tailored for specific recording situations.

It’s "up periscope" with Earthworks’ new P30/C and P30HC periscope mics. The frequency response spans from 30 to 30k Hz, and a mini-gooseneck design lets them tuck into the tightest spots.

Surround miking was big. Holophone showed its entire line of 5.1 mics. Schoeps MDMS U passive matrix box for double M/S recording can create a direct LCRS or 5 surround output using only three mics. The SoundField DSF-2 features all the things that made the company popular with broadcast and post users, along with a digital output that enables long cable runs. Sanken’s WMS-5 surround M/S mic features five outputs (L, C, R, Ls, Rs), with the matrix circuitry contained within its 8.3-ounce mic body.

Zaxcom showed two handheld mics: The ZFR800 has onboard recording to removable Mini-SD memory (up to eight hours uncompressed on a 2GB card), while the TRX800 combines the same Mini-SD recorder with an wireless transmitter for fail-safe, timecode-referenced backup in live or live-to-tape production where RF transmission is affected by interference or limited frequency availability. Both mic bodies accept screw-on heads from Shure or Neumann.

Listening to mics at a tradeshow is usually pointless, but to spotlight its new KMD small-diaphragm digital mic system, Neumann mounted two KMD cardioids in a glass case with a music box mechanism. Even over headphones, you could tell the KMDs handled the transients of the pinging tines with no problem and captured all the harmonics and decay. Nice!

ANALOG ROCKS!
There was some activity in digital outboard gear, but the main push at AES was analog, particularly from smaller boutique companies. D.W. Fearn entered the recording channel fray with the VT-15, a mono, all-tube mic preamp/DI/compressor/LC equalizer in a single box. A hip switch can instantly reverse the order of the EQ and comp in the chain. It's $4,950. Manley Labs' $3,000 TNT puts two preamps—one tube and one discrete, solid-state design inspired by vintage British consoles—in a single unit, offering user more flavors to choose from when tracking.

Chandler exhibited some Beatle love with its EMI Curve Bender stereo EQ and stereo EMI TG12413 Zener Limiter. Issued in celebration of the 75th birthday of Abbey Road Studios, the four-rackspace units will be released in early '07 at $4,500 each.

John Oram and David Manley Design-Paris announced a new Oram by DMD-Paris line of co-branded, high-end tube products. The line includes the MMPEQ1 mono preamp with 4-band EQ; SMP1 dual channel pre with DI inputs; and the MVCMP1 mono vintage compressor with mic/line preamp. Oram also announced the install of the first Series 4T GP40 console into San Francisco's Scott Singer Productions.

PLUG-INS
Got plugs? In what is the biggest audio software bundle of all time, Waves new Mercury Collection offers 91 processors and more than 200 component plug-ins. Besides nearly the entire Waves catalog (the SSL Series is not included) of mono/stereo/surround processors, Mercury includes Waves' new V Series emulation of vintage EQ and comp/limiters and adds MaxxVolume, a new dynamics processor.

The buzz over at McDSP was the ML4000 limiter plug-in. Available in single and multiband configurations, the app features a multiple-stage brickwall limiter with continuous knee control. The multiband version has a 4-band gate, expander and compressor fed into the same limiter algorithm found in the single band.

Over at the TC Electronic booth, we learned that the Unwrap mastering and up-converter algorithm will soon be available as a PowerCore VST or Pro Tools HD Accel plug-in. Originally developed for the company’s flagship System 6000 high-definition processor, the app provides fast stereo to 5.1 up-conversion when there is no time to do a conventional 5.1 mix or when multitrack source material is non-existent.

The Fraunhofer Institute featured a great demo using its new MPEG surround technology. It's not quite a product as yet, but when it is, it will be impressive. Stay tuned.

STUDIO ESSENTIALS
Korg showed two portable, pro high-res stereo recorders. The pocket MR-1 handles 1-bit/2.8MHz recording/playback; the tabletop MR-1000 delivers up to 1-bit/5.6MHz—double that of DSD standards. Both decks have balanced mic and line inputs and support DSDIFF, DSF and WSD 1-bit formats and multibit PCM format (BWF) up to 24-bit/192kHz. Included Mac/PC software can convert 1-bit recordings into WAV and AIFF formats at various bit rates and vice versa.

Tascam's DV-RA1000HD stereo master recorder provides a pro solution for capturing high-res audio to DVD or hard disk at up to 192kHz/24-bit PCM formats or Direct Stream Digital audio. It has a 60GB hard drive so projects can be recorded and then burned to CD or DVD.

Headzone from beyerdynamic provides realistic 5.1 surround reproduction from stereo headphones. Also, an ultrasonic head-tracking system locates the orientation of the listener's head with respect to the source material and adjusts the audio accordingly.

Designed for the wide bandwidth of DSD and high-sampling PCM recordings, Sony's MDR-7509HD headphones feature “Auronomic” circumaural drivers that eliminate pressure on the ear during extended use. They were comfortable, sounded great and sealed out all outside noise from the buzzing AES floor.

Alter Media was showing Studio Suite 8, which runs on FileMaker 8/8.5 and shows off a leaner and meaner user interface, plus cool new features such as dashboard overviews, 12 levels of security and e-mailing directly from the app. Web accessibility and multiple language operation are in the works.

Over at the Vintage King booth, we finally got a peek at Barefoot Sound’s MicroMain27 monitor, which “breaks down the barriers between near-field, mastering and main monitors” with its combination 1-inch soft-dome tweeter, dual 5-inch mid-bass drivers and dual 10-inch subs housed in a single enclosure. Now we just need to take a listen.

Glyph was packing them in the booth with its new line of FireWire 800 products. The 800 units feature SATA drives, which are said to offer 10 to 15-percent track count improvement in a DAW environment.

Noted studio designer Chris Pelonis demo’ed his amazing Pelonis Signature Series PSS110P studio monitors. The stereo or surround systems are based on custom 10-inch Tannoy coaxial drivers and have the most serious passive crossover design we've seen—or heard. A subwoofer is optional, but unless you have a huge room or do a lot of high-SPL hip hop mixing, you won't need it.

Hosa debuted the first in its Session Series digital near-fields, with digital domain bi-amplification and USB and RS-232 inputs for remote PC control of volume and 6-band equalization. Retail is $899/pair.

Digital Audio Denmark has upped the bar on sample rates with its AX24 DXD ADC/DAC box. The unit is scaleable with a mic pre option and several I/O options. Everything is sampled at 5.6 MHz/5-bit (!) and then downsampled to 44.1/48/88.2/96/176.4/192/384 kHz, DSD and DXD (24-bit/352.8 kHz).

LIVE SOUND HITS
The DSP 5D from Yamaha essentially puts the functionality of its acclaimed PM5D-RH digital console—less the control surface—into a rack unit that's controllable from your PM5D. Priced under $30,000, a single DSP 5D doubles the mixer's I/O channels, with 96 mono and 16 stereo channels accessible via four fader layers—or add a second DSP 5D for 144 mono/24 stereo capability. The DSP 5D can reside next to the host PM5D or act as a remote stage box (with all I/O accessible on the front panel) using an optional digital cabling unit for communication up to 120 meters away over standard Cat-5 cable.

Digidesign's D-Show Profile is a size-conscious alternative to the D-Show flagship console of the VENUE line. Intended for small to medium installs, D-Show Profile is compatible with all existing VENUE hardware and software, including existing stage and FOH racks for connecting to Pro Tools HD and Pro Tools LE systems via a hardware option. Waves Live Bundle provides a comprehensive collection of 27 popular plug-ins for Digidesign’s D-Show/VENUE console, including the L2 Ultramaximizer, C4 MultiBand and MaxxBass—all optimized especially for Digidesign’s D-Show/D-Show Profile consoles. Live Bundle also features the C1 Parametric Compander and S1 Stereo Imager, and the entire award-winning Renaissance Series.

The GL3800M analog monitor desk from Allen & Heath offers up to 16 monitor mixes, has built-in mic splitting and a comprehensive, dual-output engineer's wedge/IEM monitoring system. It's available in 24/32/40-channel frame sizes, and the 16 mixes can be globally assigned as mono or stereo.

Audio-Technica's re-engineered Artist Series line of live sound mics adds new models and upgrades classics for a complete selection of vocal, instrument and drum mics. Priced at $299, the Audix VX-5 electret condenser handheld vocal mic has a 40 to 18k Hz response, supercardioid polar pattern and bass roll-off filter. Neumann expands its handheld mic line with the KMS 104, a cardioid condenser providing optimal vocal transmission with suppression of sounds originating behind the mic.

The 64x64 Anaconda digital snake from Aphex can be used stand-alone or paired with the company’s 1788A preamp. Features include eight ADAT I/Os (64-channel bi-directional), eight word clock outputs, word clock reference input, Ethernet connector for control and metering, and fully redundant power supply and fiber systems.

MediaNumerics premiered its RockNet system. Achieving low latency was a priority in creating this real-time, audio/data distribution network. Products include the RN.301.MI 8-channel mic preamp/analog line input/ADC and the RN.342.M7 16/48-channel digital I/O for the Yamaha M7CL board.

EAW showed the UX8800, a rackmount digital processor brings EAW's Gunness Focusing to a wide range of existing EAW loudspeaker systems. This DSP technology can correct the sonic problems inherent in conventional compression driver phase plugs, horns and LF drivers, allowing horn-loaded loudspeakers to deliver performance comparable to direct-radiating studio monitors, but at the higher output levels required in live sound applications.

Meyer Sound's Constellation™ electroacoustic architecture is a complete package of equipment and services provided exclusively by Meyer and centered around the company’s VRAS™ technology. Constellation gives venues the flexibility to instantly alter their acoustics to accommodate a variety of events and source material. The first installation is at Zellerbach Auditorium on the UC Berkeley campus.

MIX CERTIFIED HITS
AES's Top 10 Audio Products

• Beyer Headzone
• Cakewalk SONAR 6
• Fairlight DREAM II
• Korg MR-1000
• Rupert Neve Designs 5088
• Solid State Logic Duality
• Steinberg Cubase 4
• Universal Audio DCS
• Wunder Audio Wunderbar
• Yamaha DSP5D

COMING UP
Next up is AES Vienna, May 5 to 8, 2007, followed by AES New York City from October 5 to 8, 2007. From an informal straw poll we took of exhibitors, we found they overwhelmingly supported the idea of three days of exhibits, and most (though not all) favored returning to San Francisco as the West Coast AES venue in 2008. The Staples Center in Los Angeles has better facilities than S.F.'s Moscone, but the hotel/restaurant scene in downtown L.A. doesn't compare to the vibe of cities like S.F. and New York City. So the jury is still out on 2008, but our (admittedly hometown-biased) vote goes to the City by the Bay.

IN MEMORY: DON PEARSON
The TEC Awards ceremony included a brief tribute to audio luminaries who died during 2006 and Ultra Sound founder Don Pearson was inadvertantly omitted from the presentation. Mix regrets this error. Pearson, who passed away last January, was an educator/innovator/live mixer extraordinaire and will not soon be forgotten.