THE OFFICIAL From the editors of Pro Sound News & Mix day3 saturday edition SERVINGA THE ES 141ST AES CONVENTION DA • september 29-october ILY 2, 2016 los angeles convention center, los angeles, ca

+BREAKING NEWS 141st AES: Download the official AES Mobile app for the latest news and information from AES. A Quality Experience By Clive Young As this year’s AES Convention passes the halfway mark, the mood is upbeat and excited, as SOUND ADVICE The Recording Academy Producers & Engineers Wing attendees continue to stream into Hosted the “GRAMMY SoundTables: Life in the Hotseat-Audio Production the L.A. Convention Center to for Live Global Telecast Events” yesterday morning. The focus was on the learn at panels and papers; see myriad moving parts and zero-error margins of some of the biggest live the hottest new equipment on the AES, NAB broadcast events on the planet. Moderated by producer/engineer/audio entrepreneur Glenn Lorbecki, the session featured panels noted for helming exhibit floor; and network with NY to audio for the GRAMMY Awards, EMMYs, OSCARs and sports events from fellow audio professionals. the NFL (including the Super Bowl) to NASCAR. Shown here at the event That vibe has been shared by Co-locate in are, from left: moderator Glenn Lorbecki and panelists Eric Schilling, Jeri the exhibitors on-hand, present- Palumbo, Paul Sandweiss, James Stoffo and Leslie Ann Jones. ing their latest and greatest offer- 2017 ings on the exhibit floor. “Here at The Audio Engineering Soci- AES, we get to spend more time ety (AES) east coast conven- with customers, and for us, it’s a tion will be co-located with quality-over-quantity experience,” NAB Show New York at the Full Circle with said James Capparelle, marketing Javits Convention Center in manager, USA for DPA Micro- New York City in 2017. President-Elect David phones. “The crowd that AES The AES annual fall U.S. attracts—it’s the Audio Engineer- convention will be held Octo- Scheirman ing Society, after all—means that ber 18-21, 2017 and NAB we get a lot of engineers and this Show New York will be held By Strother Bullins controlled audio and networking is their passion. Everyone is here October 18-19, 2017. The adja- As this 141st Convention clos- technology developers, and con- because they want to be; it’s not cent location of these events es, David Scheirman ascends to sulting project work with system a retailer audience like at other creates the most comprehensive the role of AES President-Elect, design and operations world- shows; this one is for our crowd. and largest media and enter- assuming the Presidency, fol- wide. It’s the engineers who are using tainment event held on the lowing Alex Case, in October Scheirman’s experience in our , and that’s who east coast, with more than 600 2017. Most recently, Scheirman professional audio is broad and we like to market our products to: exhibitors, according to a joint has served in executive roles at deep, and it includes a passion- professional users.” statement by the organizers. Harman/JBL Professional, fol- for-sound impetus, life-spanning Those professional users—and co-locate on page 38 lowing positions with computer- scheirman on page 38 experience on page 38

+EDDIE KRAMER +AES AGOTTVS GROUP +NEW TRENDS IN on the | inside VISITS BURL RELEASES PRELIM STUDIO MONITORS AUDIO Page 3 GUIDELINES Page 4 Page 8 AES16_DAY1_ .indd 5 9/14/16 12:42 PM DAY 3 saturday edition | the AES DAILY 3

LAUTEN AUDIO, BOOTH Augspurger Expands MF 813 Lauten Audio, an AudioPlus Services brand, Monitor Range was founded nearly a decade ago when Brian BOOTH 211 Augspurger Moni- Duo 12 main monitor design Loudenslager saw a tors is releasing its latest to be placed in the midfield need for well thought- next-generation active moni- zone, closer to the mix posi- out microphones with truly unique character. tor, the Duo 12MF. At only tion. (Both Duo 12V and Duo Eight years ago Brian 18 inches wide and 20 inches 12MF models are concurrently began work on his first deep, Augspurger’s Duo 12MF available). studio , the is an ultra-compact footprint Augspurger’s MF Range is Horizon, in collaboration studio reference monitor ideal designed to fit in smaller con- with Grammy nominated for tracking, mixing, and mas- trol rooms where a traditional Engineer/Producer Mike tering, featuring Augspurger’s soffited mains system would Terry and Theoretical renowned DSP-based tuning not be possible, and where the Physicist Dr. Charles Chen capabilities. The free-standing distance between the mixer Ph.D, Fast-forward to system is a variant of Aug- Augspurger Monitors’ and the mains is tighter. Like 2016 and Lauten Audio, spurger’s popular Duo 12V Duo 12MF all Augspurger Active systems, now a recognized leader in original sounding 2X12 cabinet design, replacing power is provided by on-board microphones with unique the Duo 12V’s classic Augspurger horn DSP amps delivering 600 watts RMS per timbre, has garnered a loyal following. The company’s latest with the Dave Malekpour designed 30 side with .003 THD (Total Harmonic innovation is the Series Black line, which includes the LA320 percent smaller “MF” horn, which was Distortion). Optionalm matching sub- Vacuum Tube, LA220 FET Condenser and the LA120 FET introduced in 2015 with the Duo 8 Mini- woofers are available in 1 X 12, 2 X 12, 1 Condenser, and Brian Loudenslager himself was at the booth Mian and continued in early 2016 with X 18 and 2 X 18 sizes, expanding the sys- yesterday to spread the good word about his new products. the Solo 12MF. This enables the powerful tem to a three-way, full-range solution.

BURL AUDIO, BOOTH 1113 Founded in 2006, Burl Audio is a pro audio gear engineering and manufacturing company based in Santa Cruz, California. Based out of Paradise Recording in the Santa Cruz mountains, and AUDIONAMIX, BOOTH 203 Audionamix is at AES showcasing the new ADX spearheaded by Rich Williams, Burl Audio’s gear is designed in a commercial SVC, touted by the company as the world’s first speech-specific volume , by professional recording engineers, for recording engineers. control plug-in. Using a state-of-the-art version of ADX-VEX, a cloud-based, Always a forward looking company, Burl Audio has embraced the possibilities multi-algorithmic voice extraction technology that automatically separates of Dante in full. Its B20 Mothership, B2 Bomber ADC and B2 Bomber DAC are audio within mastered tracks, ADX Speech Volume Control (SVC) plug-in now all Dante compatible. It was no surprise, then, to see a bonafide studio provides independent volume level control over both speech and background legend gracing the Burl booth yesterday—that would be none other than elements within a mono or stereo mix. In addition to the ADX SVC, the entire producer/engineer Eddie Kramer (right)—whose credits include projects Audionomix ADX product line is on exhibit, including the TRAX Pro 3, TRAX with the Beatles, David Bowie, Led Zeppelin, Jimi Hendrix and a veritable and 3 and VVC 3. At the booth yesterday, Ellie McNeill proved to be a fount of llegit panoply of Rock and Roll Hall of Fame artists--chatting away with Rich information when it came to all things ADX. Williams while examining the company’s latest offerings. 4 the AES DAILY | DAY 3 saturday edition

AVID, BOOTH 203 Avid is introducing Pro Tools | MTRX, a versatile new audio interface for Pro Tools | Clive’s Live Sound HDX and HD Native. Developed by Digital Audio Denmark for Avid, Picks Pro Tools | MTRX gives Pro Tools users the superior sonic quality By Clive Young of DAD’s legendary AD and DA Live sound-related events, panels and work- converters-along with incredibly shops abound this week at the AES Conven- flexible monitoring, I/O, and routing tion. Here’s a small sampling, but make sure to capabilities-all in one powerful check the show schedules for even more intrigu- unit. Powered by the MediaCentral ing offerings. Platform, it integrates seamlessly with Pro Tools | S6 and Pro Tools | S3 SATURDAY control surfaces. ‘The new Pro Tools  Worship Production: Division of Labor; | MTRX gives audio professionals Live Sound Expo, 11 a.m. amazing sonic quality and the power to customize the interface, giving Are you at AES to find new ways to improve them the control and flexibility they the sound of your services? Learn some neat need to create high-quality content,’” tricks that you can put into use tomorrow, as says Tim Carroll, Avid VP Product LSE Program Coordinator/Stage Manager, Management (shown at left, with Mark Frink, discusses the ability-based method Avid’s Rich Nevens at the company of creating appropriate roles for audio tech booth yesterday). teammates, and covers mute groups, VCAs, apps and more.  Choosing the Right Vocal Mic; Live Sound Expo, 2 p.m. AES AGOTTVS Group Releases Join top FOH engineers Pete Keppler (Katy Perry), Ken Newman (Barry Manilow) and Howard Page (Sting) as they share their insights Prelim Guidelines and observations on how to choose the right The Audio Engineering Society’s Audio TVS. “Our paper’s purpose is threefold; vocal mic for your artist. They’ll cover every- Guidelines for Over the Top Television and first, to create awareness in the industry thing from gauging the singer, the environment Video Streaming (AGOTTVS) technical of a developing loudness problem, also, to and the material, to matching a model to a group was formed in early 2016 to study the invite all professional stakeholders to join stage, a voice and a musical genre, and will also many issues related to audio loudness varia- our ongoing effort to develop more detailed offer tips on working with vocalists. tions in distributed video content. After four- recommendations, and to supply credible,  On the Road with Murphy: Who’s Laugh- and-a-half months of work by 50 members, fundamental loudness guides for actions ing Now; Live Sound Expo, 3 p.m. the group has announced the publication of that can be taken now by content suppliers There are all sorts of sayings that are preliminary guidelines at the 141st AES Con- and distributors.” invoked daily in the live sound world, but one vention in Los Angeles. Group participants included representa- of the few we can print here is “Someday, we’ll “We are delighted that our work has been tives of Amazon, Apple, BBC, CBS, Dolby, laugh about this.” Come have a good laugh published at the time of the AES conven- DTS, DTV Audio Group, Fox, Fraunhofer, then, as a trio of top audio pros tell some classic tion, the right forum for getting the word Google, NBC Universal, Netflix, PBS, Starz tales of near misses, heroic saves and ingenious out,” said Jim Starzynski, Chair of AGOT- and Qualcomm. make-dos from across their storied careers.

SUNDAY  Live Sound for Hopscotch Opera; Room 406AB, 10:45 a.m. In November 2015, Los Angeles was invad- ed by Hopscotch, a large-scale, site-specific mobile opera comprised of 24 simultaneously performed scenes inside 18 limousines and in various locations across downtown Los Ange- les. The project’s lead A/V Technician, Edward Carlson, talks about the many audio challenges faced while building a show of this scale and The Audio Engineering Society’s Audio Guidelines for Over the Top Television and Video Streaming complexity. (AGOTTVS) technical group pictured at the 141st AES Convention in Los Angeles. AES16_DAY1_ .indd 33 9/14/16 12:50 PM 6 the AES DAILY | DAY 3 saturday edition

EIOSIS, BOOTH 917 The AirEQ Steve’s Inspirational and the e2deesser are the latest products in the Eiosis spotlight. Potpourri of Picks Designed by Eiosis CEO Fabrice Gabriel, AirEQ features the By Steve Harvey innovative Character control, The last day of the exhibits kicks off with a panel addressing the which lends the product invisible barriers and challenges that keep an individual from ris- unprecedented flexibility. The e2desser was designed to ing beyond a certain level in their career-the so-called glass ceilings be extremely easy to use for encountered by women, minorities and industry outsiders of all musicians and audio enthusiasts, types. The “Breaking the Audio Ceiling” (Rm 502AB, 9 a.m.) will along with the versatility, power present unique perspectives ranging from seasoned executives to and reliability that are required those just starting out in the industry. by the most demanding mixing and post production engineers. At the booth yesterday,  Dave Robinson, editor of PSNEurope, will moderate a Eiosis’s Francois Best proved a formidable proponent of the above assertions. panel coinciding with the publication of a special supplement, Genius!2, celebrating innovations and inventors in the world of pro audio. “Genius! Live: That Lightbulb Moment” (Rm 404AB, New Firmware for Lynx Hilo Converter 10:45 a.m.) panelists include Joe Bull of JoeCo Ltd. and one of the BOOTH 313 Lynx Studio Technology is introducing new firmware for its acclaimed Hilo original SADiE DAW team, David Gunness, formerly of EAW converter, which further ads to its rich feature set and increases its usefulness as an and PreSonus and now Fulcrum Acoustic, and the man behind essential audio tool. Multiple new features and an improved graphic interface are all part of this free upgrade for Hilo owners. It will also be part of the system that ships with new Gunness Focusing, and Pat Quilter, co-founder of QSC Audio. Hilos starting immediately.  George Massenburg, Blackbird Academy’s Mark Rubel Some of the new features included in firmware version 8 include: and engineer, producer and programmer Kenny Moran will *All new, completely redesigned graphic user interface (GUI) design and logical menu dissect Earth Wind and Fire’s “September” (Rm 501ABC, 3:15 layout p.m.). The engineer-focused session promises to include the sto- *All new, full function Monitor Controller added ries behind the recording and an analysis of the multi-track. * New Master Output Volume to preserve the  The annual DTV Audio Group Forum will spend the after- relative levels of each of the outputs noon hours (Rm 408A, 1:30 p.m.) discussing “The Changing Face *New analog style and horizontal digital style of Television Audio: Objects, Immersivity, and Personalization” meter designs with moderator Roger Charlesworth, the group’s executive direc- *Four factory preset scenes with four additional user-definable scenes for faster and easier setups tor. Presentations will include the developments in object-based *Dim has been added to the routing page audio tools for live and post production, the potential impact of *Output Solo has been added to the routing VR on television, and the challenges of loudness management in page Lynx’s Hilo converter has been multi-platform streamed content delivery. *System status visible on every page. expanded with new firmware

5 p.m.-6:30 p.m. recording studio from Oxford, Mississippi to ShowNews Session B10: Considerations for Podcast Audio LA’s Historic Arts District. DTLA’s 25-foot wood ceilings, old brick walls and natural Broadcast & SUNDAY, OCTOBER 2 sunlight combine with a vintage Neve 8038 11:30 a.m.-1 p.m. console and a dazzling selection of analog and Streaming Media Special Event Session B11: GREASE LIVE— digital gear to create an outstanding recording Events, The Mixer’s Perspective space. 7 p.m.-10 p.m. October 1 & 2 Technical Tours, Capitol Studios Housed in Hollywood’s landmark Capitol October 1 Records building, Capitol Studios has been a SATURDAY, OCTOBER 1 staple of the recording industry for 60 years. 9 a.m.-10:30 a.m. Noon-1:30 p.m. Its commitment to sonic excellence has never Session B8: Designing, Building, and Maintain- DTLA Recording wavered, as evidenced by Studio A’s adjust- ing a Radio Station Performance Space One of LA’s newest studios, DTLA Recording able louvered wall panels that control variable has its roots in audio legend—multi-GRAM- decay time, eight underground echo chambers 10:45 a.m.-12:15 p.m. MY-winning producer/songwriter Dennis designed by Les Paul, up-to-the-second pro- Session B9: Implementing IP Wiring for Audio Herring (Counting Crows, Elvis Costello, duction suites and additional unique features. Applications Buddy Guy) moved his classic Sweet Tea Limited to 45 people. DAY 3 saturday edition | the AES DAILY 7

ANTELOPE AUDIO, BOOTH 321 Schurter Expands Antelope Audio is causing a stir with its new FPGA-based Range of Metal vintage FX, now on exhibit along with several of its Thunderbolt Line Switches interfaces. The Antelope booth BOOTH 731 Schurter is expanding its range of features ongoing demonstrations metal line switches to include new illumination of the FX and interfaces, led by Antelope’s U.S. Director of Sales possibilities through the use of RGB color tech- and Marketing, Marcel James, nology. It is now possible for the piezo switch shown here at the booth. Each series, PSE, and mechanical switch, MCS 30, day of the convention, as in years to have seven different ring illumination colors past, Antelope is featuring special with just one switch. The multicolor illumina- guests and musicians. tion is powered by an integrated power supply that accepts an input voltage of 5-28 VDC. The new multicolor illumination of the PSE and MCS 30 series is made easy using convenient color-coded wires in each of the illumination colors. The constant brightness intensity is maintained regardless of applied voltage. The standard version is offered in red, green, and blue. Additional color options include yellow, cyan, magenta and white, which can be made through additive color mixing. As soon as two or three wires are con- nected to the supply voltage at the same time, the result is a mixed color.

Today’s PMC ‘Masters of Audio’ Sessions 9:30-11 a.m. Jim Anderson/Ulrike Schwartz: The Stavanger Symphony Orchestra playing Brahms 2nd Symphony

11:30 a.m.-12:30 p.m. Kevin Keith: Worldwide Chief Studio Engineer Apple Music/Beats 1 studios

1-2:30 p.m. Greg Wells: Being “the Swiss Army Knife” in the studio

2:45-4 p.m. Dave Rideau: What twenty years of experience mixing will teach you!

4-5 p.m. Student Recording Critique Sessions: Pointers, tips, tricks and advice to push your skills 8 the AES DAILY | DAY 3 saturday edition New Trends in Studio Monitors Strother’s By Steve Harvey and woven Kevlar woofer, optimized front port- Picks This year’s AES Convention has seen the introduc- ed bass reflex enclosure design, bi-amped Class-D tion of several new studio monitor speakers, includ- amplification and acoustic and desk loading con- By Strother Bullins ing new models from Dynaudio, KRK Systems and dition correction low frequency EQs. V-Series 4 On the third and fourth days of the Ocean Way Audio. includes 49 user-selectable equalizer settings to ensure convention, the AES 141st Conven- Dynaudio (Booth 311) unveiled its M5P Evi- proper setup for room acoustics and placement tion’s calendar of events continues dence passive floor standing mastering monitor, a anomalies as well as taste and individual preference. to unfold with a notable group of passive floor-standing studio monitor. The far-field Ocean Way Audio (Booth 106) has unveiled its gear and processes-oriented ses- design is the first to feature Dynaudio Directiv- new HiRes3.5 or HR3.5 studio reference monitor, sions and workshops. From micro- ity Control (DDC), vertical, symmetrical drive which is based on the company’s previously released phone technologies and their appli- unit array and crossover topology that reportedly HR4. Available in a free-standing or soffit-mounted cations to designer thought behind reduces the energy radiated to a room’s floor and version, the HR3.5 delivers a frequency response of audio plug-ins, gear goals are front ceiling by approximately 75 percent. Each MP5 20 Hz to 22 kHz with an SPL rating of 120 dB and and center for many presenters houses two woofers above and two below the two features 3,400W of tri-amped power. The HR3.5 both today and tomorrow. tweeters and two mid-range drivers, with each drive houses an integrated two-way dual-horn system  Hear rising AES President unit complementing its counterpart’s frequency with a one-inch HF and eight-inch MF drivers, Alex Case discuss microphone response and phase relationship. mechanically time-aligned with twin 12-inch sub- technology’s history alongside the KRK Systems’ (Booth 1121) V Series 4 near-field bass drivers per channel. Central to its performance range of lead vocal sounds we now studio monitors, designed for a broad range of appli- is a geometrically complex, stone-cast dual/hybrid appreciate in “Historic Microphone cations, are available in four-, six- and eight-inch waveguide system offering unusually wide 100 x 40 Technologies and Their Connection models. Features include custom designed Kevlar degree horizontal and vertical dispersion. to Vocal Performance.” How do we navigate what seems to be a nearly limitless amount of vocal capture AEA, BOOTH 620 Renowned for working with possibilities today? This tutorial, Ribbon Microphones, AEA co-founder Wes Dooley today at 10:45 a.m. in Rm 406AB, was awarded an AES Silver Medal in 2003 for may reveal many answers and prac- his contributions to the development of new techniques and hardware for audio recording. He tical applications to consider. continues to develop new mono and stereo ribbon  Meanwhile, at 11:30 a.m. microphones and a genre of bespoke ribbon mic on the Project Studio Expo (PSE) preamps, many on exhibit at the AEA booth. The stage on the Exposition floor, pro ever-colorful Dooley is in the house too, apparently audio industry luminary Craig in advance of auditioning for the lead role in the Anderton presents “How to Make much-anticipated biopic, Dude, Don’t Take the Your Recorded Vocals at Least Brown Acid: The Life and Times of Wavy Gravy. Twice as Good!” In this event with He was captured in a quiet moment at the booth Q/A opportunities, Anderton pres- yesterday, imparting life lessons to his youthful, ents ways to polish and clarify bedazzled AEA colleague, Sammy Rothman. vocal tracks while reduce process- ing use with a goal of retaining the “human qualities” within any given BAE Launches G10 500 Series EQ performance.  Tomorrow at 9 a.m. in Rm BOOTH 1101 At the 141st AES Convention, BAE Audio is launching its new G10 402AB, audio engineer/software BAE equalizer. The unit, first unveiled at the 139th AES Convention, adds to BAE developer Gebre Waddell of Sound- Audio’s G10 Audio’s growing 500 series offerings with a punchy, -balanced signal equalizer ways presents “Product Develop- path, versatile 10-band graphic EQ configuration, and 2520-style op-amps. This ment: UI/UX Design Thinking and versatile studio tool has applications from tracking to mixing to mastering, its Best Practices for Audio Plug-ins.” In tone shaping capabilities making it an all-star for tweaking drum or guitar sounds or sweeten- this event, the eighth product devel- ing an entire mix. With 10 carefully selected bands offering up to 12 dB of boost or cut on tap, opment session of the Convention, the G10 offers a level of tone sculpting that can help any audio sit perfectly in the mix. The Waddell covers specific methods of, easy-to-use slider-based interface helps users intuitively visualize the EQ curves they are apply- and approaches to, common inter- ing. Switchable high-pass and low-pass filters, tuned at 80 Hz and 12 kHz respectively, help face design, analyzing the top 100 make the G10 a truly complete sound shaping solution. Says BAE Audio CEO Mark Lough- most popular commercial plug-ins as man: “It has a color and personality to it all its own and provides a nice counterpoint to the examples. British-designed BAE EQs that you probably already have in your lunchbox.” AES16_DAY3_.indd 9 9/14/16 4:45 PM 10 the AES DAILY | DAY 3 saturday edition Focusrite Introduces Clarett OctoPre ShowNews

BOOTH 202/DEMO ROOM 514 Focusrite is launching the Clarett OctoPre, which includes eight of the Clarett AES Super range’s “Air”-enabled mic pre’s, making it the ideal Session: ‘Develop way of adding inputs and outputs to a Clarett Thun- Focusrite’s Clarett OctoPre derbolt audio interface—or any other interface with a Killer Audio ADAT I/O. The Clarett OctoPre ships in November. sion digital conversion offering 24-bit operation at The preamps are optimized not to clip and standard sample rates up to 192 kHz. Product in One include extensive headroom, making them ideal Each channel features a front-panel switchable for high-level signals. Focusrite has been making electronically-balanced relay-bypassed insert point, Day’ digital conversion systems for years, and the Clarett allowing EQ, compression or other analog process- The Audio Engineering Society OctoPre provides a level of conversion quality that ing to be left connected and brought into play with is offering a new “Super Session” matches that of the mic pre’s themselves, with preci- the push of a button. program as part of the Product Development Track at the AES Los Angeles Convention. Target- ed to Product Design Engineers, Neutrik Increases Availability of Product Managers, Product Mar- keting and Engineering Manag- opticalCON LITE ers, and others interested in profes- sional audio product design ideas BOOTH 1006 Neutrik recently completed training its ADVANCED cable assembly line. opticalCON and implementation, this series of U.S. COCAs (certified opticalCON cable assem- LITE DUO (two-fiber), QUAD (four-fiber), and sessions, being held today, October blers) in opticalCON LITE cable assembly. MTP (12-fiber) cable assemblies are constructed 1, is dedicated to the task stated in opticalCON LITE offers a lightweight design with a new, lightweight fiber cable design that com- its title: “Develop a Killer Audio and durable, IP65-locking plastic housing at sig- bines small size, light weight, high flexibility, and Product in One Day!” nificantly lower cost than Neutrik’s opticalCON ruggedness which far exceeds that of conventional The day-long events will be pre- fiber optic patch cables. These features make opti- sented by a team of product devel- Neutrik’s opticalCON calCON LITE ideal for patch applications in envi- opment experts, each one discuss- LITE cable assembly ronments where tripping, vehicle, and similar haz- ing best practices and technologies ards are not a concern. in their specific disciplines of Prod- Now that U.S. COCAs can assemble optical- uct Management, User Experi- CON LITE, lead times will be dramatically shorter ence, Industrial Design, Acoustic than when the cables were exclusively manufactured Design, Natural Voice Process- at Neutrik’s Liechtenstein headquarters. ing, Validation And Testing, and Sourcing and Supply.

SATURDAY, OCTOBER 1 Yamaha Issues Nuage V1.8 Software 9-11 a.m. Session PDSS1: Product Manage- BOOTH 603 Yamaha Nuage is a state-of-the-art Nuage up to speed with today’s fastest-growing ment, Industrial Design, and User DAW system that is rapidly gaining favor in com- immersive surround format. Experience mercial production applications ranging from audio The VST Multi-Panner makes it possible to post-production to music recording and mixing. work on a 9.1 channel bed mix and an object mix S1:15 a.m.-1 p.m. Making its AES debut at Yamaha’s booth (603), with up to 118 audio objects via a single display. Session PDSS2: Acoustic Design Nuage software version 1.8 provides full support As a project progresses, the operator can switch and DSP Engineering for the VST Multi-Panner 3D surround plug-in between bed and object modes without having included with Steinberg’s to redo the panning. Top 2 p.m.-4 p.m. Nuendo 7.1 DAW. The View and Rear View dis- Session PDSS3: Speak2Me Demo VST Multi-Panner inter- plays make it easy to visu- and Natural Voice Input face is faithfully repro- alize the positions of audio duced on the Nuage Mas- images within the sound 4:15 p.m.-6 p.m. ter touch screen providing stage in three dimensions. Session PDSS4: Design Validation, an ideal environment for A comprehensive selection Product Verification and Sourcing Dolby Atmos surround of panning trajectory pre- & Supply Chain production and bringing sets is also provided. Microphone Preamplifi er / ADC / DAC / Interface

From mobile laptop tracking, to large scale networked audio production, the m108 is the new MVP in any modern recording environment. It provides 8 channels of beautifully transparent, musical mic preamplifi er with state of the art ADC’s, and a simple, powerful 8x2 USB2 interface. A built-in low latency mixer and reference DAC make the m108 the perfect mobile interface, while its remote control options and stunning audio performance make it the ideal front end for high-end remote recording or FOH systems. • 8 channel remote controlled microphone preamplifi er • 192kHz ADC outputs via AES, ADAT and USB Class 2 • Ultra-wide gain range • Ribbon mic mode • Optional interface module • Reference DAC and headphone amplifi er for low- latency monitoring • 10 channel digital mixer • Front panel HI-Z inputs • Control from Protools™, existing m802 RCU, or over Ethernet with computer utility or built-in web browser GUI • 5 year transferrable warranty • Built in the USA

AES BOOTH #710 www.gracedesign.com

AES16_DAY3_.indd 11 9/14/16 1:22 PM 12 the AES DAILY | DAY 3 saturday edition

ShowNews and Personalization” will take Roger Charlesworth, Executive an in-depth look at a variety Director, DTV Audio Group of new and exciting develop- DTVAG Forum To ments, and the issues involved of Loudness Management in with common content produc- Multi-Platform Streamed Con- Address Changing tion and delivery methods. tent Delivery.” Discussion topics will The DTV Audio Group Face of TV Audio include: “The Impact of VR Forum at AES is produced in AES and the DTV Audio Group (DTVAG) on Immersivity and Personal- association with DTVAG’s will present the DTVAG Forum today, Sat- ization in Television,” “Evolv- parent organization, the Sports urday, October 1, from 1:30 p.m-6 p.m. at ing Tools for Object Audio Video Group. Sponsors for this the Los Angeles Convention Center. Part of Post Production,” “Advanced year’s DTVAG Forum include the 141st Convention Special Events program Authoring Tools: Live Audio Production,” Calrec, DAD, Dale Pro Audio, Dolby Labo- (open to all attendees), “The Changing Face “Challenges and Opportunities for Live Pro- ratories, JBL, Lawo, Linear Acoustic, Sanken of Television Audio: Objects, Immersivity, duction Deliverables” and “The Challenges and Studer.

Grace Design Spotlights From Hal Leonard, Pensado on m108 Mic Preamp BOOTH 703 From mobile laptop tracking to Vocal Recording large scale networked audio production, Grace Design’s m108 is the new MVP in any mod- BOOTH 1016 Dave Pensado’s Vocal Production ern recording environment. It provides eight Course, a new video training course of the Pen- channels of beautifully transparent, musical mic with state of the art ADCs and a sado’s Strive series, is in the spotlight at Hal simple, powerful 8 x 2 USB2 interface. A built-in Leonard. The course covers the entire gamut low-latency mixer and reference DAC make the of vocal recording, including fixing and mix- m108 the ideal mobile interface, while its remote ing, microphone choices, setup and prepara- control options and stunning audio performance tions for vocal sessions. make it the ideal front end for high-end remote recording or FOH systems. This course is for those recording at home Features include: eight-channel remote con- or in a professional studio. Viewers will trolled ;192kHz ADC observe an actual vocal recording session with outputs via AES, ADAT and USB Class 2; ultra- Dave’s mix assistant Leandro Hidalgo, learn wide gain range; ribbon mic mode; optional how to fix any problems after your session interface module; reference DAC and headphone amplifier for low-latency monitoring; 10-channel with Grammy-nominated mixer Bob Horn and digital mixer; front panel HI-Z inputs; control from how to get the final mix done by Dave himself. series Pensado’s Place. The show is seen in Protools, existing m802 RCU or over Ethernet Pensado, one of the recording industry’s more than 150 countries, with more than 100 with computer utility or built-in web browser GU; preeminent mix engineers, stars in the TV schools using it as a teaching tool. five-year transferable warranty; built in the U.S.

Hafler Spotlights New Phono Preamps BOOTH 839 Hafler’s (a division of Radial Engi- to preserve and transmit the original program neering Ltd.) two new phono preamps—the material with minimal coloration. The PH50 Hafler PH50 and PH60—have already received has been designed for extremely low-noise tremendous critical acclaim from major record- operation, a problem common to the 33 RPM ing engineers including Alan Parsons (Pink recording chain, resulting in a -82dB noise floor Floyd, The Beatles) and Chuck Ainlay (Mark with greater than 91dB of dynamic range and Knopfler, Eric Clapton) and from mastering less than 0.002% distortion. Hafler’s PH50 high-performance phono preamp engineers Eric Boulanger (Neil Young, Imag- The Hafler PH60 is a high-performance ine Dragons) and Emily Lazar (Coldplay, Foo phono preamp for moving coil cartridges that extremely low signal level produced by mov- Fighters). combines a class-A transformerless head-amp ing coils, particular attention has been applied The Hafler PH50 is a high performance design with a well-defined RIAA curve to to reducing noise while retaining the purity of phono preamp for moving magnet cartridges preserve and transmit the original program the signal path to address the most demanding that incorporates a well-defined RIAA curve material with minimal coloration. Due to the audiophiles. DAY 3 saturday edition | the AES DAILY 13 A-T Features New Dan Dugan Updates AE2300 Microphone Automixer Line BOOTH 503 Audio-Technica is exhibiting its Artist Elite AE2300 Dynam- BOOTH 727 Dan Dugan Sound ic Cardioid Instrument Microphone. The AE2300 features Audio- Design is demonstrating recent Technica’s proprietary double-dome diaphragm construction, giving it updates to its automixer line at high frequency and transient response that far exceeds typical dynamic AES. microphones. With its rugged, brass metal The Dugan Models M and N are auto- Dan Dugan Sound construction and low-profile design (able matic microphone mixers, designed to work in con- Designs’ Model M to be placed unobtrusively in a variety junction with standard audio mixing consoles. The automixer of applications) and the ability to handle Dugan Model M has MADI I/O, both optical and high SPLs, the AE2300 is a versatile per- copper, and the Model N has Dante I/O, primary and secondary. Both former, able to capture sound from guitar models provide 32 channels of Dugan auto-mixing at 96K or 64 chan- amps, brass and woodwinds, drums and nels at 48K and are PoE capable. The Dugan Speech System, Music percussion instruments with clarity and System and Gain Limiting are all supported. In addition the M and N precision. include a scene memory that can record and recall all operating settings, The double-dome diaphragm construc- either globally or by unit, in a library of named scenes. tion allows the AE2300 to maintain direc- Dugan technologies offer the best possible mix of live microphones, tionality across the entire frequency range, providing fast, transparent cross-fades without upcutting, choppy with little off-axis coloration (frequency sound or shifts in background noise. In addition to manufacturing his Audio-Technica’s Artist Elite response is nearly identical at 0 degrees, own products and plug-in cards for other consoles, Dan Dugan licenses AE2300 cardioid instrument 90 degrees and 180 degrees) for excellent his technology to other manufacturers to build in to their products, microphone phase cohesion in multiple-mic setups. including Protech Audio, Sound Devices, Waves and Yamaha. 14 the AES DAILY | DAY 3 saturday edition JoeCo Features ‘New Concept in Recording’ A-Designs Goes to The Rack BOOTH 414 Based on JoeCo’s award-winning Black- Box Recorder technology, the company’s BlueBox With REDDI V2 Workstation Interface Recorder range is a new con- cept in recording. There are currently two models BOOTH 1120 For more than a in the BlueBox range: the BBWR24MP and the decade, discerning musicians BBWR08MP, the former providing 24 channels of and engineers have turned to switchable mic/line inputs and the latter providing A-Designs’ REDDI to deliv- eight channels of mic line input and 16 channels of dedicated balanced line inputs. The mic channels on er rich, full tone for basses, both units incorporate our clean high-quality mic pre- guitars, keyboards/synths amp designs. In a studio environment, the BlueBox and other instruments when A-Designs’ rack-mounted REDDI V2 DI unit can be used as a low latency audio interface device “going direct” to a DAW or providing a full 24-channel interface at 24-bit/96kHz tape. After receiving numerous both to and from a workstation simultaneously utiliz- ing the on-board recording function as a backup requests over the years for a rack-mounted version of the standalone all-tube DI unit, A-Designs device. For Live work, the unit’s in-built high-quality now announces the launch of the REDDI V2, a dual-mono-channel, 19-inch, 2U model. mic preamps can be used as a stand-alone, live, “The number of REDDIs in use on stages and in studios around the world is staggering,” multi-channel audio acquisition recorder using the says A-Designs Audio President Peter Montessi. “And the new REDDI V2 faithfully brings the low latency 24-channel, 24-bit, 96kHz workstation exact same warmth, transparency and clean, airy high end to the rack, with the added benefit of interface to a computer for backup recordings. The high-quality microphone preamps operate featuring two separate 6N1P tube-driven mono channels for stereo devices.” at up to 24-bit/96kHz and offer the user compre- The REDDI V2 is not a high-gain device. Rather, its gain structure has been painstak- hensive control parameters. The BlueBox features ingly engineered to avoid the slightest compromise in sound quality. Inspired by the sound of the a range of connection options including individu- Ampeg B-15 tube bass amp, the REDDI V2’s 6N1P-driven amplifier feeds signal directly into a ally switchable mic/line inputs and balanced outputs, hefty custom output transformer by Cinemag, a key component to providing its harmonically with audio clocks locked to timecode, video or word clock inputs. rich tone. AES BOOTH 1006 ELIMINATE SOUND CABLESPURE KEEP

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AD AES 9x10875 en - XIRIUM PRO.indd 1 01.09.2016 15:47:39 AES16_DAY3_.indd 15 9/14/16 1:23 PM 16 the AES DAILY | DAY 3 saturday edition ShowNews Sound Quality, Advocacy for Music Makers in P&E Wing Focus

The Recording Academy Producers & Engi- integral part of the music business ecosystem and San Francisco, to name just a few. neers Wing continues to gain traction with by supporting the development of the DDEX This year, propelled by research that pro- its advocacy and awareness-raising initiatives recording metadata standard RIN (Recording vides evidence regarding the large number through 2016. Information Notification), set to be officially of teenagers at risk of hearing loss from how Building on new research that shows many published on October 13, 2016. loud they’ve been listening to music over the consumers want access to higher quality audio P&E Wing professional events aim to sup- last 15 years, the P&E Wing has also part- for their music and are willing to pay for it, port the recording community overall, pro- nered with The Recording Academy’s Music- the P&E Wing is helping to move the industry viding education and networking across the Cares foundation to create a new, educational forward by providing high quality listening country, from Studio Summits in Dallas, New GRAMMY Hearing Health initiative. As part opportunities and recommendations for best Orleans and Seattle, to Up Close & Personal of this new effort, MusiCares will be providing practices for recording Hi-Res Audio. The interviews with Diplo in Philadelphia; Butch a mobile van with free hearing tests on site at Wing has also driven serious progress towards Walker and Dave Cobb in Atlanta; and listen- the convention floor of the Los Angeles AES making proper crediting for music creators an ing sessions in Chicago, Memphis, Nashville Convention. Bose Features Expanded F1 Family BOOTH 105 Bose Professional is displaying its venues. expanded F1 Flexible Array Loudspeaker prod- Engineered with an array uct line, including a recently introduced pas- of eight Bose proprietary sive full range model and a full suite of mount- 2.25-inch drivers, 100-degree ing brackets. Together with a powered model horizontal waveguides, a introduced in 2015, both Bose F1 loudspeaker high-powered 12-inch woofer models are ideal for portable and installed appli- and a lower crossover point, Three dedicated brackets—Yoke (left), U (center) and Pan-and-Tilt cations. Bose says the F1 Model 812 Loud- F1 Model 812 loudspeak- (right)—provide flexible mounting options for the Bose F1 Model 812 speaker is the first portable loudspeaker offering ers deliver high SPL perfor- Flexible Array Loudspeaker. “FLEX array technology,” which lets installers mance while maintaining focus sound to target listening areas with four vocal and midrange clarity that’s dramatically and rear hang points along with three dedicated different patterns, offering exceptional power better than conventional installable products. brackets for easy and flexible mounting. Pan and and clarity for a wide range of applications and F1 Model 812 include M8 top tilt, yoke and U bracket options are available. THE ULTIMATE AUDIO INTERFACES & INTEGRATED VINTAGE HARDWARE-BASED FX MODELS

LOS ANGELES CONVENTION CENTER BOOTH SEPT 29 – OCT 1, 2016 #321 AES www.AntelopeAudio.com SEPT Chuck Ainlay 29 10:30am

SEPT Geoff Emerick 29 4:00pm

SEPT Nathaniel Kunkel 30 10:30am

SEPT Ed Cherney 30 1:00pm

JBL SEPT George Massenburg 30 3:00pm

OCT Chris Lord Alge SESSIONS 01 10:30am Up Close and Personal with 8 Industry Legends OCT Special Guest 01 1:00pm Join us to sample the sensational recordings of these masters through the unparalleled JBL M2 and 7 Series OCT Frank Filipetti Master Reference Monitors. 01 4:00pm Demo Room 504 Thursday, September 29th, 10am - 6pm Friday, September 30th, 10am - 6pm Saturday, October 1st, 10am - 5pm

L.A. Convention Center - Los Angeles California

AES16_DAY3_.indd 17 9/16/16 2:37 PM 18 the AES DAILY | DAY 3 saturday edition Jeff Balding Choose Genelec Prism Sound Features BOOTH 103/LISTENING ROOM 511A Multiple GRAMMY-nominated producer engineer Jeff Balding recently upgraded his studio with 8351 three-way Smart Active Monitors (SAM) and a 7360 SAM subwoofer New Expansion Module from Genelec. Balding recently became one of the latest members of BOOTH 714 At AES, A new the music production community to set up shop in the heart of Nash- expansion module, specifical- ville’s famed Berry Hill district. In ly designed for its Titan and addition to the Genelecs, his studio Atlas audio interfaces, is the features a full complement of record- focus of Prism Sound demos. ing gear including a 32-channel API Launched at NAMM earlier 1608 recording console, Burl B80 this year, the MDIO-HDX Mothership AD/DA Interface, Uni- module, compatible with the versal Audio plug-ins for Pro Tools Avid DigiLink connection, and much more. allows multiple Titan or Atlas “I’ve had the 8351s for a little over units to be connected direct- Prism Sound’s MDIO-HDX expansion a month now, and I have to say I feel ly to Pro Tools|HD systems. module excited to go into the studio to work With this setup, users of Avid on them,” says Balding. “I like how Pro Tools|HD can enjoy the superior sound quality of the Prism Sound they make me react to a mix, and I Titan and Atlas A/D and D/A converters and their equally well regard- like the detail I hear on them. As you ed on-board microphone . know, the rule of thumb with speakers Prism Sound is using the AES platform to demonstrate the ease with Jeff Balding, shown with his is if you can’t hear it, you can’t fix it. which this module can be integrated into a recording workflow and how Genelec 8351 three-way Smart And with the 8351s and the 7360As I all of the key controls can be controlled from within the workstation’s Active Monitor (SAM) feel like they give me the detail I need.” own GUI and stored as part of the session.

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Unavngivet 2 1 05/09/16 15.41 AES16_DAY3_.indd 19 9/20/16 3:31 PM FREIGHT DOOR 20 the AES DAILY | DAYFA 3FH saturday editionFA FH 25' X 52' TRUCK DOCK IO N IO N exhibitor | listingsCONCES S CONCES S

1602 Group TiMax 1017 FA 3D SOUND LABS 130 141th AES convention | september 29-october 2, 2016 A Designs Audio 1120 ADAM Audio USA 420 FH FH los angelesFH convention center,FH los angeles,FH ca ADK Microphones 121 AEA - Audio Engineering Associates 620 AES 847,926 AV FA Storage 60' 60' 20'x20' EXIT EXIT AfterMaster Demo/TBD 6Mx6M 60' Stage Stage

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Alto Music 231 or Desk or 20 0 Amazon Lab126 112 20 0 10' 5' Radial Engineering Ltd., Hafler, Jensen , Primacoustic American Express OPEN 227 Live Sound Expo Theater 30' 10' 5' PSE Theater EXIT 839 Coleman American Music & Sound 511 Audio 10' 10' EXIT 136 UnderTone Audio, Peerless Embrace Green GO/JAC Standard Audio, Triad-Orbit E.A.R. Mix with the NBC KV2 Lundahl OVerstayer WhisperRoom, RackFx.com by Audio Lab Specialty Inc. Advance Stand Amphion Loudspeakers 215 immersiveDSP, Masters Electronics TMB Belden K-array Transformers Distribution Recording Systems miniDSP Inc. Tymphany Inc. Audio Equipment 134 234 235 334 335 Soundproof 435 534 535 634 635 734 735 834 835 935 1035 1135 20' Windows Savannah 20' 20' SKnote S.r.l., JOCAVI- audioXpress/Voice OCA AMS Neve 211 Tape Op NewBay Inc. Latch Corning Optical College of Coil/Circuit audioborn ETAL Healthtec Pro Studio Acoustic Communications Electroswitch Magazine Alto Magix Art and Cellar Alliance, 10' 20' Inc 10' Media 30' 10' Lake 10' Live 10' Panels, Lda 10' Design 10' 10' Inc. 10' 10' Music Products AES 132 133 232 332 LLC 433 533 632 633 732 733 833 Step 933 1032 1033 1132 1133 Antelope Audio 321 20' 20' Inc. 20' 24'-4" 3D Merging Gig Gear Schurter and Media SOUND Technologies 20' Networking LABS LLC Inc Repeat Alliance Wave Distro, Eleven Dimensions 50' Empirical Labs, Rupert API - Automated Processes, Inc 421 130 Media, LLC, ESI 231 330 331 430 431 530 731 830 831 931 Whitestone Audio 1131 Fraunhofer Audiotechnik GmbH, Instruments Co., Society of 20' IIS Sound Radix, NTT Media Teegarden Audio, Neve Professional Zynaptiq Independent Klippel Berklee Recording Bricasti Society of Audio Electronaut Women's Audio Recording American Fredenstein Belleson Bock Intelligence Dan Serpent Audio, Services Audio Inc. GmbH, College of The Design, Broadcast Fusion Company Luke Designs Audio (SPARS.COM) Professional LLC Laboratories 30' 30' Express Warkwyn, Music Masters Ltd. Audio Dugan Engineers LLC Mission Apogee Electronics 214 OPEN Audio/ATR PACSYS Sound 30' 30' 128 328 Limited, 429 (MULANN 529 628 629 728 828 829 929 1029 1129 20' 20' R&D Team Industries) Design, CEDAR Tegeler Audio Allied Josephson Lavry Pacific Radio FA Tape- FullScale Manufaktur Riedel Hear Inc. THD PCB Electronics Audio 20' 20' Communications Technologies Powers Engineering, Piezotronics Engineering, A Sommer Cable AV, LLC GmbH Aston Microphones USA 115 Op Ltd. LLC 20' Labs Inc. Inc. America, Inc. 126 127 226 227 326 327 426 427 526 527 626 627 726 727 826 827 926 927 1026 1027 1126 n 1127 Phoenix Reverb.com Astro Spatial Audio Room_511C Audio 10' 10' 124 a 1125 Audeze 705 Music Microtech 20' 20' 20' 20' 20' 20' CRANE Maker ADAM AEA-Audio Focal CharterOak Gefell Zaxcom Antelope Lectrosonics, SONG Publications Engineering l GmbH Audio Inc Press/ LTD. Solid State Audio API-Automated Associates DPA Waves Inc. Audio Plus Slate Digital 122 123 222 USA Routledge 1122 1123 Audio Alchemist Logic 20' Processes, Inc 20' 20' Microphones 20' Services 20' 20' 614 Manley 20' o DirectOut ADK Laboratories, 20' 20' 20' 20' A Designs Kush GmbH Microphones Inc Audio Audio Audio Fusion LLC 829 120 121 220 221 321 420 421 521 620 621 721 821 921 1021 1120 g 1121 Tama Drums/ Hoshino USA 10' 10' EXIT Audio Plus Services 813,821 118 Sonic The Recording Cadac Audio Alchemist Hal 1602 Studio Sound 20' Danerours Music, Listen, 20' A 24'-4" Leonard Farm Insurance Apogee Amphion Audio Holdings Clear- Inc. Glyph Soundtoys, Prism Cloud Eiosis Group TELEFUNKEN Audio Program Ideas Ltd Technologies Inc. Corporation TiMax Brainstorm Audio Precision 314 Electronics Loudspeakers JumperZ Audio Inc. Microphones Elektroakustik Precision Com Collaborative Sound Audio Plus Services, Electronics, 116 117 317 416 Audio Labs 717 Cymatic Audio, SPL, Zaor 917 1016 1017 DAD/NTP l 20' 20' 20' Sennheiser 20' 20' 20' 20' Studio Furniture, Technology 20' Aston 20' ETS- JoeCo Bruel & IsoAcoutics Inc, Focal UVI Sounds & AS, Sanken Microphones Electronic Software Resolution Microphones/ Audio Technology Switzerland SA 610 USA Lynx Studio Prof, Vovox Echobit Lindgren Limited Kjaer plus24 Technology Corp., 30' l Neumann/ 30' 114 115 214 215 314 20' 414 515 614 615 714 715 814 915 1014 1015 1115 Brahma Cakewalk, Avedis Audio-Technica U.S., Inc. 503 PMC 20' Music USA American Audio Microphones- 20' Soyuz Burl Aurora Gibson Westlake Technology Embrace Cinema Audio, Microphones e Monitors 40' Audio Pvt Ltd Marshall Guitar Marketing Music & Switzerland- Little Labs Audio Pro International Corp, KRK Professional Inc Sound USA Electronics, 112 113 Audio Design 313 712 Mogami 813 Systems, 1012 1013 1112 1113 audioborn 20' 20' 20' 20' 20' Cable, NEAT y 232 Millennia Dynaudio Calrec Microphones Vintage The Media 20' MXL Mojave Royer King Blackbird FPC Group Audio Ltd Microphones 20' Audio Labs Audio Academy Audionamix 203 110 111 210 211 311 410 411 511 610 611 710 711 20' 911 1010 1011 1110 1111 Ocean Microphone- 20' Parts.com, Way 10' Roswell Pro 10' EXIT audioXpress / Voice Coil / Circuit Cellar 833 Audio, Audio 20' Inc. 20' 20' 20' 20' Sony Williams Neutrik Synthax Inc/ Vertigo Sound iZotope, Electronics, Benchmark Sound, USA, & Greg Wurth Equator 20' Shure RME Audio Augspurger 211 Inc AVID Inc. LLC Inc. Audio 106 107 206 406 Audio- Yamaha 707 806 Incorporated 907 1006 1007 1106 1107 10' 20' 10' 40' 10' 10' Technica 10' Corporation 10' 10' 40' 10' Extreme 10' 10' Bose DIFFUSE Profusion Isolation D.W. PMI Aurora Audio International 611 plc Professional Line 6 Eventide U.S., Inc. of America Audeze Earthworks, STC by Listen AVID 30' Lawo 30' Inc Fearn Audio Inc. 30' 30' Gear DIRECT Audio 104 105 204 705 SOUND Systems, 1104 Group FA 20' 20' 20' 20' Avedis Audio 1012 Genelec, Focusrite Grace Inc. Gordon 20' Inc. Novation 20' Instruments TASCAM Design 24'-4" 103 202 203 303 402 403 503 603 703 802 803 903 1002 1003 1102 1103 AVID 203,303,Room_507 20' BAE audio BAE audio 1101 100 1101 FH FH FH FH 25' FH Belden 634 30' Belleson LLC 529 45'

Show Benchmark Media Systems, Inc. 806 Show Sales Press EXIT Office Daily Office Room 15'x16' 15'x16' 15'x24' 20'x33' Berklee College of Music 429 4.5Mx5M 4.5Mx5M 4.5Mx7.5M 6Mx10M Big Bear Audio 1026 Blue Cat Audio 410 MEN MEN ENTRANCE MEN WOMEN Bock Audio 629 Bose Professional 105 Brahma Microphones - Embrace Cinema Pvt Ltd 712 Brainstorm Electronics 1112

TELE TELE TELE TELE Bricasti Design, Ltd. 628 FA 40' Exit

6 FH FH ' Bruel & Kjaer 715 1 T 20' AES 6 ' Burl Audio 1113 Store 21'6" 2 T 6 ' FH FH 3 T 6

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STAIRS STAIRS io n LAST IN ESCALATOR 8 Celemony 410 Enter FIRST OUT Exit Office 9 CharterOak 1122 Registration Legend: 2Mx12M 103 Tech Tour Single Tickets 1. Advanced Registration 2. Advanced Registration 10 Clear-Com 515 3. Advanced Registration 4. Advanced Registration 5. Open 6. On-Site Registration 11 7. On-Site Registration Cloud Microphones 814 8. On-Site Registration 9. Tech Tour Single Tickets 10. Tech Tour Single Tickets 11. Open 12. Exhibitor Registration Coleman Audio 136 13. Exhibitor Registration 14. Exhibitor Registration 12 E 13 egistratio n G

Collaborative Audio Labs 614 R A r LEVEL 2 o 14 Corning Optical Communications 732 EXIT EMER. EXIT STO R

CRANE SONG LTD. 1123 Ex hibi t EXIT FAFH FH FA EXIT FA Cymatic Audio 813 LEVEL 2 EMER. EXIT D-Spatial 203 D.W. Fearn 1104 DAD/NTP Technology AS 1112 Dan Dugan Sound Design, Inc. 727 Dangerous Music, Inc 614 DIFFUSE by Listen Audio Systems, Inc. 1003 Digmoda 211 DIRECT SOUND 1002 DirectOut GmbH 120 Dolby Laboratories, Inc. 203 DPA Microphones 621 Dramastic Audio 211 Dynamount 530 F.H. E n Dynaudio Pro 311,Room_513 t ra nce E.A.R. Inc. 234 Un Earthworks, Inc 802 it Echobit 1014 Eiosis 917 DAY 3 saturday edition | the AES DAILY 21

PACSYS Limited 426 demo rooms | 500 level PCB Piezotronics 927 Peerless by Tymphany 235

27'-9" CLOSET e 27'-6" 27'-6" 27'-6" REST 27'-10" 55'-10" 27'-8" 27'-8" 27'-6" 27'-6" ROOM Cadac Holdings Ltd FREIGHT FA Phoenix Audio 124,1134 14' Room_509B AKG, Harman 15'-10" 15'-11" ELEV International, Cakewalk, Gibson Pro Audio, KRK Yamaha Corporation 8'-8" D. L-Acoustics of America EXIT EXIT JBL Professional AVID Room_508 Systems, NEAT Microphones e e Dynaudio Pro Focusrite Novation 8'-7" W. PMC Monitors 113 CLOSET 10'-0" H. Room_504 Room_505 Room_506 Room_507 41' Room_510 Room_512 Room_513 Room_514 14' 45'-8" 45'-8" 45'-8" 45'-8" 45'-8" 45'-8" 45'-8" 45'-8" PMI Audio Group 1103 PMC

22'-7" ELEV. Monitors MEN FIRST AID e e MEN FH FH Room_516 Primacoustic 839 23' DF

e FH AED 22'-1" Prism Sound 714 Eventide 14'-1" FA FA Room_517 Pro Audio Distribution 211 42'-3" 42'-2" 56'-3" 56'-4" 54'-10" 54'-10" FH FH FH SPECIAL EVENTS FH Genelec, Inc. Pro Studio Live 632 29'-3" Room_501A 29'-7" Room_511A Professional Audio Design 211 Sennheiser/ Neumann USA 42'-2" 42'-2" 57'-6" KV2 Audio 57'-6" Room_503 Profusion plc 104 Room_518 STUDENT FAIR & ACTIVITIES PMC Presentation Room 86'-9" 86'-9" PSI AUDIO 1032 Room_502B Room_502A Room_515A Room_515B ESCALATOR UP TO 105'-11" MEETING ROOMS PSI Audio & Flux:: 1032 42'-2" 26'-4" Astro Spatial Audio SPECIAL EVENTS Room_519 R&D Team 426 15' DF WOMEN 28'-8" Room_501C 29'-1" Room_511C FREIGHT RackFX.com 134 ELEV. WOMEN 42'-2" FH FH Radial Engineering Ltd. 839 STORAGE STORAGE ELEC. STORAGE

EXIT STORAGE FH EXIT Recording the Masters 526 FA FA EXIT Resolution 1015 Reverb.com 1125 Riedel 626 Roswell Pro Audio 406 demo rooms | 400 level Royer Labs 1011 RTW GmbH & Co KG 203 Rupert Neve Designs 1126 S

OO M Samar Audio Design, LLC 335 R

G N I T E E M

T Sanken Microphones/plus24 1112 S E W O T 411 Savannah College of Art and Design 733 THEATRE Schurter Inc 731 405 407 410 B sE Electronics 1126

FE Sennheiser Electronic Corp. 402 FE FE 411,Room_503 Serpent Audio 1026 A FV B B B Shure Incorporated 803 SKnote S.r.l. 632 404 406 409

OPEN BELOW Slate Digital 921 401 WOMEN A A A Society of Broadcast Engineers 828 FV FV FV DF MEN Society of Professional Audio Recording Services (SPARS.COM) 128 EXIT

FE FE FE FE DF DF DF WOMEN MEN Softube 427 A 403 B A 408 B OPEN BELOW AED Solid State Logic 221 TO SOUTH MEETING ROOMS FA FA FA FA FA FA FA FA FA FA FA FA Sommer Cable America, INc. 1127 OPEN BELOW OPEN BELOW OPEN BELOW OPEN BELOW OPEN BELOW OPEN BELOW OPEN BELOW OPEN BELOW Sonarworks 410 EXIT EXIT EXIT EXIT EXIT Sonic Farm Audio 116 Sonnox Ltd. 203 Sony Electronics, Inc. 707 Electronaut Company 929 JumperZ Audio 614 Sound Ideas 317 Electroswitch 1033 Klippel GmbH 426 Sound on Sound 1034 Eleven Dimensions Media, LLC 226 KRK Systems 911,Room_509B Sound Radix 226 Embrace Audio Lab Inc. 334 Kush Audio 1121 Soundproof Windows Inc. 430 Empirical Labs 1026 KV2 Audio Room_518,734 Soundtoys, Inc. 615 Equator Audio 1107 L-Acoustics Room_506 Soyuz Microphones 1013 ESI Audiotechnik GmbH 226 Latch Lake Products Inc. 530 SPL 813 ETAL Inc 332 Lauten 813 Stage Tech Room_511C ETS-Lindgren 114 Lavry Engineering, Inc. 1027 Standard Audio 835 Eventide Inc. 402 Lawo 403 STC Gear 903 Extreme Isolation Headphones 1002 Lectrosonics, Inc 521 Synthax Inc / RME 1007 FabFilter 410 Line 6 204 Tac System, Inc. 203 Fingerprint Audio 1126 Listen, Inc. 717 Tama Drums / Hoshino USA 118 FIX Audio Designs - From the Mind of Paul Wolff 921 Little Labs 1012 Tape Op Magazine 132 Focal Press/Routledge 1021 Luke Audio 1026 TASCAM 100 Focal Professional 813 Lundahl Transformers 735 Teegarden Audio 1026 Focusrite Novation 202,Room_514 Lynx Studio Technology 313 Tegeler Audio Manufaktur GmbH 527 Fraunhofer IIS 127 Magix 533 TELEFUNKEN Elektroakustik 1115 Fredenstein Professional Audio/ATR 327 Malvicino Deisgn Goup 106 THD Labs 826 FullScale AV, LLC 427 Manley Laboratories, Inc 220 The Blackbird Academy 1111 Genelec, Inc. 103,Room_511A Marshall Electronics 711 The Conservatory of Recording Arts and Sciences 831 GEOMISTLLC 107 Media Networking Alliance 931 The Recording Studio Insurance Program 117 Gibson Pro Audio 911,Room_509B Merging Technologies 330 TMB 535 Gig Gear LLC 431 Microphone-Parts.com 406 Tracktion Corporation 203 Glyph Technologies 614 Microtech Gefell GmbH 123 Triad-Orbit Advance Stand Systems 1035 Gordon Instruments 1102 Millennia Media FPC 111 U-He Software 410 Grace Design 703 miniDSP 133 UnderTone Audio 835 Great River Electronics 827 Mix with the Masters 435 UVI Sounds & Software 915 Green GO/JAC Specialty Distribution 834 Mogami Cable 711 Vertigo Sound & Greg Wurth Audio 1106 Hafler 839 Mojave Audio 1010 Vintage King Audio 1110 Hal Leonard Corporation 1016 Moog Music Inc. 1126 Vovox 813 Harman International Room_504 Music Maker Publications 122 Warkwyn 426 Healthtec 110 Music Marketing Inc 410 Wave Distro 1026 Hear Technologies 627 MXL Microphones 711 Waves Inc. 721 IHSE 203 NBC Electronics 534 Westlake Pro 210 immersiveDSP 133 NEAT Microphones 911,Room_509B WhisperRoom, Inc. 935 IMSTA 1029 Neumann/USA 411,Room_503 Whitestone Audio Instruments Company, LLC 1026 Independent Audio Inc. 328 Neutrik USA, Inc. 1006 Wholegrain Digital Systems LLC 203 IsoAcoustics Inc 813 NewBay Media LLC 331 Williams Sound, LLC 907 iZ Technology Corporation 1120 NTT Media Intelligence Laboratories 728 Women’s Audio Mission 1129 iZotope, Inc 206 NUGEN Audio 203 Yamaha Corporation of America 603,Room_512 JBL Professional Room_504 OCA Alliance, Inc. 933 Zaor Studio Furniture 813 Jensen Transformers 839 Ocean Way Audio, Inc. 106 Zaxcom 222 JOCAVI - Acoustic Panels, Lda 633 Omnisonic International 211 Zynaptiq, GmbH 226 JoeCo Limited 414 Overstayer Recording Equipment 835 Josephson Engineering, Inc. 827 Pacific Radio Electronics 1127 AS OF SEPTEMBER 15, 2016 22 the AES DAILY | DAY 3 saturday edition Range of Mic Solutions in DPA Showcase BOOTH 6721 d:screet Miniature, d:dicate includes both omnidirectional and directional Recording, d:vote Instrument and d:facto microphone capsules. Most of the mics are Handheld Microphones are all featured in the based on a modular design, giving its users the DPA showcase at AES. ability to mix and match capsules and pream- With very low noise and an extremely high plifiers to create the exact microphone needed sensitivity, d:screet Miniature Microphones for any specific task. offer the most clear, transparent and natu- DPA’s award-winning d:vote Instrument DPA’s d:dicate Recording Microphones ral sound, and are capable of handling up Microphones rejects unwanted noise and accu- to 154dB peak before clipping. With a lin- rately captures the true voice of any acoustic sions: Vocal Microphones that are intended for ear response, low distortion and an extremely instrument. The wide array of instrument clips stage use with audio quality so high that they large dynamic range, d:screet Miniature Micro- creates a versatile microphone, giving the user a can be used for studio recording and broadcast, phones sound great no matter the application. gentle, easy-to-mount solution. and Interview Microphones intended for hand- The d:dicate Recording Microphones range The d:facto line consists of two capsule ver- held ENG/EFP applications.

Looptunes Developer Relies Waves Offers Nx Virtual Mix on TASCAM iXR BOOTH 100 Sonicreef’s Looptunes for iPhone and Room Over Headphones iPad is a very cool app that lets you create loop sessions on the fly and then manipulate and shape BOOTH 721 Waves Audio is displaying its them with a multitude of parameters, all in real Waves Nx Virtual Mix Room, a plugin that time. It’s a fun way for musicians of any skill level puts you in the sweet spot—everywhere you to quickly create beats, play along with a loop ses- go. Powered by the company’s groundbreak- sion, or jumpstart their compositional efforts. To assess his app’s sonic output properly, Sonicreef ing Nx technology, Waves Nx lets you hear, creator Peter Thom needed to hear it with the best on any pair of headphones, the same natural possible fidelity while keeping his setup as simple depth, natural reflections, and panoramic ste- as possible. After trying other solutions, he discov- reo image you would be hearing from speak- ered the TASCAM iXR audio/MIDI interface for Mac, ers in an actual room. It turns headphones Windows and iOS. “The iXR interface has an Apple-approved chip- into a more reliable mixing and monitoring set that lets it connect directly with my iPhone tool by letting you hear everything with real- Waves Nx graphical user interface in 5.1 surround or iPad, so I don’t need the Camera Adapter,” world dimension. mode Thom explains. “The Waves Nx finally bridges the gap between iXR has MIDI In and monitoring on speakers and monitoring on headphones. Waves Nx with real-time head tracking Out, so it serves as a native iOS MIDI works by taking advantage of your computer’s camera. By letting you hear the depth and stereo interface, too. It’s a spread you would be hearing on external monitors, Nx provides an accurate representation of simple and powerful how the headphone mix will translate to loudspeakers without any coloration of the sound. setup, and it easily As a result of the success of Nx Virtual Mix Room, Waves has also introduced a consumer fits in a bag with my application, Nx Head Tracker, that allows you to enjoy the enhanced realism of being in the iPad, so the whole Virtual Mix Room anywhere and everywhere you go. setup is really por- table.” Peter Thom Synthax Shows RME MADIface Pro Interface BOOTH 1007 Synthax is showcas- The MADIface Pro offers two analog mic/ routing options. A MIDI I/O completes the ing the RME MADIface Pro line XLR inputs, two XLR line out- fully DAW compatible feature set. The unit Desktop Interface. Retain- puts, two universal TS inputs for operates via USB bus power and normally does ing the same form factor as line or instrument, and two not require an external power supply, unless the company’s popular Baby- stereo TRS outputs for the MADI I/O is used. When not connected to face Pro, the MADIface sub- low/high impedance head- a computer, the MADIface Pro enters stand- stitutes the Babyface Pro’s ADAT phones. The included Total- alone mode. In this mode, MADI channels I/O with a MADI port, delivering 64 Mix FX software adds 3-band one to 64 are passed unchanged from input to I/O channels of pristine audio up Synthax’s RME MADIface Pro parametric EQs and reverb/ output (but refreshed by the MADIface Pro to 192 kHz on a single cable. Desktop Interface echo, plus unlimited mixing and SteadyClock III). DAY 3 saturday edition | the AES DAILY 23 New Neutrik PLUGs Crane Song Updates Strike Proper Tone Digital Hardware Line BOOTH 1006 In the quest for the Holy Grail of tone, BOOTH 1123 Crane Song’s updated recording engineers know that every possible variable matters—gui- line of digital hardware products tars, strings, picks, amplifiers, microphones, room interactions...and takes advantage of their proprietary cables. As cable length increases, so does impedance. And as cable 5th generation Digital to Analog impedance changes, the guitar pickups’ reso- converter technology. With its AES nant frequencies are altered. Typi- debut, the Egret 8 Channel D/A Crane Song’s Egret 8 Channel D/A cally, engineers refer to the sound Converter/Summing Mixer joins Converter/Summing Mixer generated when using shorter cables the Avocet monitor controller, the as “bright” or “clear”; longer cables are HEDD 192 AD/DA converter and Solaris stand alone digital to analog progressively “warmer” or “less ice-picky.” converter to complete the line up of Crane Song products equipped with This “warming up” of the sound occurs Crane Song’s Quantum DAC. The Quantum DAC uses a 32-bit convert- because the increased impedance of longer er and asynchronous sample rate conversion for jitter reduction with up cables causes guitar pickup resonant peaks to sampling to 211 KHz. The reference clock uses a proprietary reconstruc- move lower in frequency. tion filter for accurate time domain response; and with jitter less than Neutrik’s timbrePLUG (left) Neutrik’s timbrePLUG allows guitar- 1pS, Quantum DAC has the lowest published jitter values in the industry. and ultimatePLUG ists and engineers to change the timbre of The Crane Song 5th generation Quantum DAC has been shipping the electric guitar sound from a neutral, in Avocet IIA since November 2015, and in April 2016 Crane Song clear tonality to warmer characteristics in four discrete steps by turning quietly updated the HEDD 192. As of AES show the Egret will be a knob on the plug. This opens up a range of new tonalities without shipping with the upgraded DAC. This completes the updating of the having to maintain a large stock of different-length cables. DACs in all Crane Song digital hardware. 24 the AES DAILY | DAY 3 saturday edition Two Flagship Headphone Models in A-T Spotlight

BOOTH 503 Audio-Technica is showing two of are tuned to accurately reproduce extreme low its flagship headphone models at the 141st AES and high frequencies (five to 40,000 Hz) while Convention: ATH-M70x Professional Moni- maintaining perfect balance. Featuring rugged, tor Headphones and ATH-R70x Professional metal design, they are ideal for studio mixing Open-Back Reference Headphones. and tracking, FOH, DJ use, personal listening, Designed specifically to bring out added mastering, postproduction and audio forensics. detail in the mix, ATH-M70x professional Maximum power input is 2,000 mW, meaning monitor headphones feature proprietary 45 mm very low distortion at even high volumes. large-aperture drivers with rare earth magnets The award-winning ATH-R70x is Audio- and copper-clad aluminum wire voice coils and Technica’s first professional open-back refer-

Audio-Technica’s ATH-R70x Professional Open-Back Reference Headphones and ATH-M70x Professional Monitor Headphones

ence headphone. Featuring Audio-Technica’s comfortable, self-adjusting 3D Wing Support Headband Design that adapts to automatically fit any wearer with no need for adjustment, the R70x also has breathable fabric ear-pads, pro- viding prolonged comfort for continuous use in professional environments. The proprietary driver unit is specially designed for the R70x.

TEGELER AUDIO MANUFAKTUR, BOOTH 527 Tegeler Audio Manufaktur, a high-end professional audio gear manufacturer based in Berlin, Germany, is introducing a unique new compressor, the Schwerkraft Maschine, built on an analog tube signal path and controlled by built-in DSP to emulate any type of compressor on the market. The result is the convenience and flexibility of a plug-in with the highly desired sound of all analog hardware. Schwerkraft Maschine includes specially designed built-in DSP that generates a control signal for the compressor settings, allowing it to that simulate the behaviors of any type of existing compressor. The user can set the compressor in one of 11 different Modes to act like an opto-compressor, Vari-Mu, VCA or tube compressor and more. THE ULTIMATE PRO AUDIO GEAR EXHIBITION AND TECHNICAL SUMMIT REGISTER NOW! AES Los Angeles 2016 Los Angeles Convention Center West Hall Exhibition: SEpt. 29 – oct. 1, 2016 program: SEpt. 29 – oct. 2, 2016

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AES16_DAY3_.indd 35 9/14/16 1:26 PM AES_141st_AES_Daily-FP.indd 1 9/6/16 10:26 AM 26 the AES DAILY | DAY 3 saturday edition Ocean Way Unveils RM1-B Ribbon Microphone BOOTH 106 Ocean Way Audio signed outer perimeter “clad” (OWA) is unveiling the RM1-B in archival stainless steel. The Ribbon Microphone. Like its new knurled cylinder knobs acclaimed predecessor the RM1, provide superior hand-torque; the RM1-B was designed for the RM1-B’s design allows Ocean Way Audio by noted for an even more open and microphone designer Cliff Hen- detailed response. ricksen. With dozens of RM1 “The RM1 is a no-com- mics in the field, high-level audio promise bidirectional rib- Hal Leonard engineers have adopted the RM1 bon microphone that has and are using it for symphonic all the ‘ribbon mic qualities’ Features ‘Modern recordings and vocals. Ocean Way Audio’s RM1-B I admired but with unprece- Utilizing the same unique rib- Ribbon Microphone dented low noise and true high- Recording bon design as the RM1—offering fidelity tone,” says Henricksen. matched, ultra-low-noise phantom-powered “The RM1-B has a variety of refinements, Method’ pre-amplification and an output level of 36db, making it easier to use as well as sonically BOOTH 1016 Hal Leonard is presenting the Hal 20Hz to 20 kHz—the RM1-B has a rede- prettier.” Leonard Modern Recording Method. Hosted by two-time Grammy-winning recording engineer David Darlington and written and directed by producer and journalist Rusty Cutchin, the Astro Spatial Spotlights SARA series covers all the fundamentals from basic sound and electronics to mixing, mastering, Screenshot of ROOM 511C Astro Spatial Audio’s SARA audio Astro Spatial and distribution while providing insider tips rendering engine, an immersive 3D audio tool, Audio’s and tricks gleaned from a combined 80 years is being showcased in Room 511C at AES. SARA audio of music making, recording and educating with Using state-of-the-art advancements in 3D rendering some of the biggest names in the business. audio and the latest Room Simulation Pro engine The Hal Leonard Modern Recording acoustic technology, the system delivers a 3D Method focuses on the small studio and the audio and room acoustic experience, making way musicians get things done in the mod- it ideal for performing arts facilities such as ern world, working “in the box” in spaces theaters, opera houses, concert venues, theme from bedrooms to full-blown pro studios. parks and worship spaces. introduced that adapts specific requirements The Method shows you the full range of tra- At AES, a unique object based interac- such as speech intelligibility or concert acous- ditional and modern recording techniques, tive acoustic room simulation module is being tics to any venue. including how to capture an entire live band in a smaller recording space. Focusrite RedNet Changes Everything for Haehnel BOOTH 202 Brad Haehnel, working from his He’s been acquiring RedNet devices regular- Noise Alchemy studio in Hollywood, has ly, and he currently has two RedNet 2 16-chan- scored numerous hit films including Little Miss nel analog interfaces, two RedNet 4 Eight- Sunshine, The Lego Movie, and the Academy Channel Mic Preamps, four RedNet 5 HD Award-winning Life of Pi. The veteran engi- Bridge interfaces for Pro Tools(r), two RedNet neer, who began his career in Toronto over 25 6 MADI Bridge interfaces, and a RedNet PCIe years ago, understands that technology has to card that links audio computers to the gigabit be transparent to the creative process, and for network. Together, they provide Haehnel with the last year or more, that’s meant using Red- a RedNet ecosystem that gives him efficient Brad Haehnel Net Dante-networked audio converters and signal path and connectivity to other facilities. interfaces from Focusrite as the backbone of “People notice the difference in sound,” he to the table: great sound and simplified signal his signal flow. To date, Haehnel has worked says. “The transparency is amazing. So these routing that means I can focus on what I do. on 10-plus films and counting using RedNet. films are a testament to what RedNet brings RedNet has totally changed everything.” AES16_DAY3_.indd 27 9/14/16 2:09 PM 28 the AES DAILY | DAY 3 saturday edition Ohio U. Doubles Up on Yamaha Nuage Systems

BOOTH 603 Preparing audio engineers and con- The 16-fader Nuage system is installed as tent creators is key to the curriculum at Ohio part of the Immersive Media Initiative (IMI) University’s (Athens, Ohio) Scripps College of within Ohio University’s Game Research and Communication, School of Media Arts & Stud- Immersive Design (GRID) Lab. The IMI was ies (MDIA). And now, thanks to pro audio sup- created for students to produce game and vir- plier Vintage King L.A. and Yamaha Profes- tual reality content. These same students are sional Audio Steinberg staff, the school houses also shooting video in 360—they have already a 32-fader Nuage DAW advanced audio post- produced a 16-minute short film—using green production system in its Steven L. Schoonover screen for motion capture, and more. “There Post-Production and Critical Listening Lab is absolutely no better software for creating with a companion classroom containing 30-plus audio for virtual and augmented reality than seats of Nuendo 7.1. The college also boasts a Ohio University’s 32-fader Nuage DAW. A second Nuendo,” says Kyle P. Snyder, Lecturer and second 16-fader Nuage system in its mmersive 16-fader Nuage system has been installed in the Outreach Coordinator in the School of Media Media Initiative facilities. college’s Immersive Media Initiative facilities Arts & Studies.

MusiCares, P&E Wing Telefunken Launches Provide Free Hearing Testing New Direct Box Line at AES BOOTH 1115 Telefunken MusiCares, in partnership with the AES and The Recording Acad- Elektroakustik is intro- emy Producers & Engineers Wing, is hosting free hearing screenings ducing four new direct today from 10 a.m. until 4 p.m. during the 141st AES Convention. A boxes at AES, including CAOHC (Council for Accreditation in Occupational Hearing Con- mono and dual models servation) certified audiometric technician, using the latest calibrated of both active FET and equipment, will evaluate the hearing of attendees, with test results passive designs. reviewed on site by certified audiologists. This opportunity will be The Telefunken available on a first-come, first-served basis and interested individu- TDA-1 (mono) and als will be asked to complete a brief, one page form for MusiCares. TDA-2 (dual) are newly Telefunken’s new direct boxes Staffed with professional audiologists, the hearing test van will be designed active FET located at the rear of the exhibition hall between the Project Studio direct boxes that employ Expo and Live Sound Expo. discrete Class-A FET circuitry coupled with a high quality trans- This free hearing test opportunity at AES is a result of The former that provides the perfect balance between clean, high head- Recording Academy’s GRAMMY Hearing Health Initiative, which room performance and warm, saturated tone. is a partnership between the P&E Wing and MusiCares designed to The Telefunken TD-1 (mono) and TD-2 (dual) are new passive maximize efforts to educate about hearing health and best practices direct box designs that combine premium quality components with for hearing conservation. a rugged construction to create a reliable DI with rich, warm tone.

SPARS Hosts Speed Mentoring Today BOOTH 128 SPARS once again is hosting speed in small groups to offer advice, share their expe- recent graduates and recording professionals mentoring sessions at the 141st AES Conven- riences and answer questions about the industry who are seeking answers to questions, guidance tion. The Ask SPARS mentoring sessions will and careers. in their careers and networking opportunities take place today, Saturday, October 1. These The Ask SPARS sessions is made possible with established industry professionals. Men- mentoring sessions feature recognized industry with the support of AES and the Game Audio toring is a life long process. SPARS believes professionals in the fields of Studio Production, Network Guild (GANG), as well as the coop- members of the recording community should Post Production, Gaming, Live Sound/Live eration of the organization’s talented lineup of seek mentoring opportunities at every stage of Recording, Mixing and Studio Business. The mentors. their career. mentors will meet with participants face to face Who should attend: Current students, To register, go to www.spars.com. GO RECORD AT AVAST! RECORDING CO. now with a 24 input x 32 output BURL AUDIO B80 MOTHERSHIP

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AES16_DAY3_.indd 29 9/20/16 3:32 PM 30 the AES DAILY | DAY 3 saturday edition EMC-Quad Cable Joins Hafler Shows New P3100 Sommer Family Two-Channel Amplifier BOOTH 839 Hafler (a division BOOTH 1127 New to the Sommer Cable line, EMC-Quad has been test- of Radial Engineering Ltd.) ed and certified by the Music Engineering and Technology Alliance is showcasing the P3100 two- (METAlliance). METAlliance co-founder Frank Filipetti comments, channel amplifier. Designed “A lot of people say there’s no difference among cables, but this new for both studio recording and Hafler’s P3100 two-channel amplifier Sommer cable just wipes everything else off the map.” audiophile listening, the P3100 Based on Sommer’s widely recognized multicore line, the innova- follows David Hafler’s philos- tive German company has packed four wires into one jacket, which ophy of offering the very highest quality at an affordable price point. allows them to be connected in a crossover mode to reduce capacitive The P3100 employs Hafler’s legendary trans*nova lateral MOSFET value. The wires are 100 percent shielded by a tight copper mesh and topology that at once reduces the length of the signal path while providing a semiconductor foil. EMC-Quad ensures absolutely neutral repro- exceptional stability. This results in remarkable sonic detail while assuring duction with excellent dynamics and is recommended for connecting greater protection for the loudspeakers. It produces 150W per channel into microphones, preamps, power amplifiers, audiophile CD and SACD eight Ohms, 200W per channel into four Ohms and may be bridged mono players, turntables, as well as all professional studio equipment. A to produce 400W. With extensive heat sinks on both sides, the P3100 does 30-day money back guarantee is included. not require noisy fan cooling. Lateral MOSFETs were designed specifically METAlliance co-founder Chuck Ainlay remarks, “I was shocked for linear audio amplifier applications with their high speed and superior when I heard the difference between a cable I use every day and how sonic characteristics, compared to the vertical MOSFETs and bipolar out- much better Sommer sounded, far exceeding every other cable that I put transistors used by most other amplifier makers. tried.” Ed Cherney added, “Sommer cable is probably the best cable Front panel features include individual trim controls along with an elabo- out there.” rate LED display for precise monitoring with signal presence and overload. The power switch is equipped with a “soft start” circuit that prevents sending potentially destructive turn-on and turn-off transients to the speakers.

The Stillery: Southern Comfort Food & Bose Sound BOOTH 105 The Stillery is a locally owned restaurant started by veterans of Nashville’s nationally noted culinary scene. It offers Southern com- fort food combined, as you might expect in Nashville, with live music. The owners wanted to keep the food and the music intertwined but not let one overwhelm the other—a constant challenge when cuisine meets music. Thanks to audio technology from Bose Professional, The Stillery had an answer. National AV systems integrator South Central AV’s Nashville office designed and installed a Bose sound system consisting of 16 RoomMatch loudspeakers in the upstairs portion of the restaurant arrayed as a live- Visit us at AES Booth 731 music system and a Bose MB12 subwoofer under the stage. A second Bose Locking power connectors system, consisting of four FreeSpace DS16 ceiling-mounted loudspeak- ers and two Panaray MB4 bass and cord sets loudspeakers, was installed on the main dining floor. It plays audio SCHURTER's V-Lock cord retaining system is an easy, safe and cost effective power entry module solution for audio equipment. from the two flat-screen televisions mounted above the bar or from - Wide range of international plugs the small solo singer-songwriter - Hundreds of V-Lock compatible inlets, outlets and power entry modules with or without filters stage positioned there. Both sys- - Ideal for audio equipment where cord retention is required tems share a 500W PowerMatch or necessary eight-channel amplifier, able to - cUL and ENEC approved be split between the upstairs and *Product shown: KEA power entry module with integrated 2-pole circuit protection downstairs sound systems, as can a ControlSpace ESP-00 processor. Nashville’s The Stillery restaurant audio.schurter.com DAY 3 saturday edition | the AES DAILY 31 WhisperRoom Spotlights DAD Expands Routers, Acoustic Tuning Package Converters Lines BOOTH 935 WhisperRoom’s new ATP provides a very flexible and cost-effective solution to easily create the interior acousti- BOOTH 1112 Digital Audio Denmark (DAD), a part of NTP Technology, cal environment desired by each WhisperRoom user. is showcasing two significant new additions to its AX32 and DX32 audio The primary purpose of the ATP is to alleviate the problem routers and converters: Pro|Mon|2 is a complete monitor control solution of parallel walls, which creates an acoustical issue commonly available as an optional license for the free DADman control software, known as Standing Waves. The ATP consists of a series of and MOM (Monitor Operating Module) is a stand-alone control unit for angled deflector panels attached to the interior surface of two controlling dedicated monitor functions in a Pro|Mon|2 monitor control perpendicular walls within the WhisperRoom. Acoustical foam system. sheets (one-foot x two-foot) can be attached to several deflector Pro|Mon|2 enables DAD AX32/DX32 to operate as a monitor control panels to control mid to high frequencies. Lenrd Bass Traps system managing signal routing, control room speaker levels and monitor (three), located in the common corner, control low frequencies. cues in any channel format including stereo, 5.1, 7.1.4, Dolby Atmos and Open voids created behind each angled deflector panel, provide other 3D and immersive audio formats. It also provides full compatibility for soundwave entrapment. Other acoustical materials, such with the Avid Eucon 64-bit protocol through which most of the Pro|Mon|2 as cloth wrapped fiberglass, can be attached to the surface of controls are available via Eucon and can be configured in detail on control deflector panels. Direction and pattern of deflector panels can, surfaces such as the Avid S6, Avid S3, Avid Pro Tools Dock and the Pro easily and quickly, be adjusted to accommodate user needs. Tools Control iPad app for wireless cue mix and monitor control. WhisperRoom offers 26 sizes of iso booth models and two MOM is a stand-alone control unit for configuring and adjusting dedi- levels of sound isolation with basic and optional features, each cated monitor functions in a Pro|Mon|2 monitor control system, providing affordably priced: a Standard (single-wall) and an Enhanced various adjustments for studio control room level, cut, mute, talkback and (double-wall). speaker reference level. 32 the AES DAILY | DAY 3 saturday edition A-Designs’ Mix Factory in Worldwide Debut

BOOTH 1120 AES is seeing the worldwide debut of A-Designs Audio’s Mix Factory, hailed by the company as a totally new concept and approach to “out-of-the-box” summing for musicians and engineers looking to get more from their current sound and workflow. “Our Mix Factory isn’t just any old sum- ming unit,” says A-Designs Audio’s Peter A-Designs’ Mix Factory Montessi. “It delivers analog warmth with the depth and imaging needed to make your mixes Based on a concept developed by producer/ to life by celebrated designer Paul Wolff, truly stand out from the crowd.” engineer/mixer Tony Shepperd and brought A-Designs’ new Mix Factory accommodates up to 16 audio channels, which come into the device on two D-sub inputs and sum to stereo XLR outputs. All 16 channels have a continuous FDR (gain) knob, pan pot with center detent, and cut (mute) switch that acts as a signal indicator with an audio sensitive LED, which glows when signal is passing into the channel and intensifies when the signal is stronger. The Mix Factory also has a pushbutton option to go from clean—the standard setup bypassing the transformers—to tonal using the custom-made output transformers manufac- tured by Cinemag.

SHURE, BOOTH 803 Shure’s Microflex Advance Ceiling (MXA910) and Table (MXA310) Array microphones are now shipping. The portfolio of premium networked ceiling and table array microphones, audio interfaces and control software for enhanced A/V conferencing integrate seamlessly into premium meeting space aesthetics. Shure Microflex Advance offers elegant, versatile, and Training over 1,200 women & girls every year scalable solutions for A/V conferencing spaces that to be the next generaaon of music producers require pristine speech intelligibility. With the ability to flush-mount the MXA910 alongside standard and recording engineers. ceiling tiles and the innovative “toroid” polar pattern in the MXA310, these microphones offer a dynamic Booth 1129 package of technologies to ensure a best-in-class audio experience. www.womensaudiomission.org Learn Everything You Need to Know with

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AES16_DAY1_ .indd 33 9/28/16 10:11 AM PSN16_ProHouse ad.indd 1 9/28/16 10:05 AM 34 the AES DAILY | DAY 3 saturday edition Avid Unveils Workflow Updates, Flexible Options BOOTH 303 Avid is showcasing new audio editing innovations and flexible options for accessing its flagship Pro Tools | HD toolset. Fulfilling key promises of Avid Everywhere, these advance- ments, enabled by the MediaCentral Platform, accelerate recording, editing, and mixing work- CLASS ACTS Superstar songwriting/record production team Jimmy Jam (left) and Terry Lewis (right) flows so audio professionals can create the high- were cruising the 141st AES Convention exhibit floor yesterday, following Stevie Wonder by a day in est-quality content more powerfully, efficiently, lending star power to the day’s festivities. Their travels took them by the NewBay Media booth, where and affordably. our Kimberly Purnell couldn’t resist getting up close and personal with two of the music business’s New Avid Pro Tools 12.6 software deliv- class acts and most respected hitmakers. ers powerful new editing capabilities that give audio professionals even more control over their editing workflow and enables faster and more fluid mixing than ever before. The Clip Effects and layered editing features make it New API Pedals TranZform possible to edit and prepare mixes faster and more powerfully. Sound New standalone purchasing options mean BOOTH 421 API launching the TranZformer series, that customers can now purchase or subscribe designed to easily and affordably bring the legend- to Pro Tools | HD software as a stand-alone ary analog sound of API to your guitar and bass. product, independent of Pro Tools | HD hard- The TranZformer series currently includes the ware bundles. This means that audio profession- GT Guitar Pedal and LX Bass Pedal, both of als have more flexible, affordable access to the which incorporate API’s traditional analog sig- premium audio post and pro mixing toolset in nal path to provide gain control, compression Pro Tools | HD software than ever before. and in one box. Both units feature The components that comprise a Pro Tools phase invert switches on each output, ground | HD system-Pro Tools | HD software, HDX or lift, clip indicator and transformer output. The API’s TranZformer Series: the GT Guitar HD Native card, and HD Series audio interface- TranZformer GT and LX both combine an API Pedal (left) and LX Bass Pedal are available à la carte and priced at an even 525 feedback-type compressor with a three-band greater value so audio professionals can flexibly equalizer, optimized for guitar and bass respectively. and affordably define the system that fits their needs.

RTW, BOOTH 203 Cologne, Germany’s RTO is making a splash at the 141st AES Convention with its announcement of entering the music market. CEO Andreas Tweitmann (left) left explains this latest move at the RTO booth yesterday. In addition, Tweitmann introduced the new RTO MM3 MusicMeter (visible in his left hand), a new addition that gives users the ability to implement loudness metering into music-based applications with flexibility and ease. In addition the MM3 is compatible with RTO’s popular USB Connect software package, available at no cost from the company’s website. Also new to the RTW lineup: upgraded Continuous Loudness Control (CLC) software Version 2.0. This new upgrades further improves the quality of loudness processing with various enhancements o its superior processing algorithm. Adding his own words of wisdom to the presentation was RTW’s Tobias Langenbucher (at right). GAIN UNMATCHED ACCESS AT YOUR FINGERTIPS TO AUDIO’S BEST IN THE STUDIO, LIVE, OR ON THE DUB STAGE SPECIAL OFFER ALL ACCESS SAVE OVER 50% ON SINGLE ISSUE PRICING

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MixHouseAd.indd 1 6/11/2015 7:25:50 PM MIX_FPad.inddAES16_DAY1_ .indd 1 35 7/22/159/27/16 2:477:06 PM 36 the AES DAILY | DAY 3 saturday edition ShowNews In Heyser Lecture, Smith Recounts MIDI’s Rough Start

by Clive Young “During that meeting, it face that became MIDI. We Instrument designer, AES Fellow and became apparent quickly were able to do it quickly GRAMMY-winner Dave Smith regaled the that it was going to be hard because we conveniently crowd with recollections and amusing stories if not impossible to get every- skipped working with any as this year’s Richard C. Heyser distinguished body to agree on everything... sort of standards commit- lecturer at the 141st AES Convention. Creator everything kind of fell apart tees—and by the end of the of the first programmable polyphonic synth, during the meeting. I was a year, we shipped the Proph- the Prophet 5, in the 1970s, and the first soft- little dejected that maybe this et-600, which was the first ware synth, Reality, in the 1990s, he returned wasn’t going to happen, but musical instrument of any to hardware with Dave Smith Instruments in afterwards, I was approached kind that had MIDI on it. 2002. by some people from Roland Dave Smith Then at the NAMM Show But arguably Smith’s greatest accomplish- and a couple of other Japa- in 1983, we connected two ment was proposing the concept of MIDI nese companies. instruments—a Jupiter-6 and a Prophet-600— and spearheading its creation; he recalled, “All during 1982, we developed the inter- and it actually worked!”

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seminars at the Live Sound and Project Studio continued experience | from page 1 Expos. On Sunday, there’s no exhibit floor but the

users who are becoming professionals—are all AES experience continues with plenty of special the AES over the convention this weekend and there’s events, workshops and other offerings. And DA I LY plenty to take in. Saturday, there’s neat tutori- if you still haven’t gotten your fill of every- day | three edition als like “Spatial Music Experiences with Com- thing audio after that, there’s always next year, mon Headphones;” special events like “Hi when the AES Convention returns to the Jacob October 2016 Res Audio and Soccer Moms-How Are They Javits Convention Center in New York City Sue Horwitz, Gene Kinsella, Related and How Will People Be Getting Their (co-locating with NAB NY for the first time, Debbie Rosenthal Advertising Sales Music in the Future?”; and plenty of insightful no less) on October 18-21, 2017. Zahra Majma Specialty Sales Tom Kenny Editorial Director David McGee Editor to serve him and his AES Officer peers continued Kieran McGee Pro from Dover  from page 1 today. scheirman | Clive Young Senior Editor “To be an audio engineer can academic self-improvement and mean many things, and that is what Strother Bullins, Steve Harvey Contributing Editors savvy business acumen. He exudes an is so exciting [about this Society],” inspiring proactive spirit and encour- he concludes. “In audio, our different Fred Vega Production Manager ages others to do the same. For exam- communities are like different planets in Nicole Cobban Senior Art Director Walter Makarucha, Jr. Associate Art Director ple, when a condescending older road David Scheirman the same solar system. The new broad- engineer flippantly advised that the only cast engineer and the young master- John Staley Onsite Photographer type of job he could get traveling with ing engineer may be trying to get their Elvis Patron Saint professional concert systems would likely be first big project; the 9-5 cubicle-working noise- Steve Palm President & CEO “driving the truck,” he acquired his CDL (com- control analyst may be gathering data; and the Paul Mastronardi Chief Financial Officer mercial driver’s license), was immediately hired institutional researcher may be trying to under- by a national touring rental sound firm, and hit stand how the brain interprets music. In all these Adam Goldstein Executive VP, Group Publishing Director the road. fields, a common bond is a love of audio, which Ed Hecht VP, Group Publisher “I hope that people here at the 141st Con- often naturally means a passion for music. Pur- Tony Savona Director of Editorial, vention will recognize the value of our student suing a career in audio requires an understand- Marketing and Creative Development volunteers in the yellow shirts,” offers Scheir- ing of how to listen and a sincere willingness to Published by NewBay Media L.L.C. man. “I used to be just like these students, use and develop technologies to transmit these 28 East 28th Street, New York, NY 10016 attending my first AES Convention when I was aural experiences to consumer groups-the audi- Tel: 212-378-0400 22. That exposure has led to an interesting, ence.” Email: [email protected] Web: www.newbaymedia.com diverse career in professional audio, giving me a set of experiences and skills that now aid me as part of the Society’s corporate governance dence of audio and video, we see this as abso- continued group, and respond to the needs of a diverse co-locate | from page 1 lutely the right thing to better serve the indus- group of members while working with my peers- try overall. We expect it to drive an enhanced like John Krivit, Alex Case and Andres Mayo. “Audio is the expertise of the AES, and experience for all involved.” We want to make sure that the future direction NAB Show New York highlights expertise in NAB Show New York, traditionally held of our Society is in alignment with the chang- video and content distribution. For today’s in early November, showcases next-gener- es in industry. And that leads to more diverse media professionals, it makes perfect sense ation technology for media, entertainment career opportunities for the audio students in for these two events to take place side-by- and telecom professionals, with conferences the yellow shirts. That’s the real feedback loop.” side, complementing each other’s missions, and workshops focused on television, film, Becoming an AES member years ago has benefiting each other’s memberships and satellite, online video, live events, corporate served Scheirman well. Upon invitation from increasing the opportunities for all attend- A/V, production and post. In 2015, the event an AES member, he attended his first section ees,” said Bob Moses, executive director, hosted more than 7,200 attendees and 300 meeting in Nashville and learned to connect Audio Engineering Society. exhibitors. with those in the now-historic early ’70s Music “The co-location of NAB Show New The Audio Engineering Society’s annu- City studio and touring scenes. He notes that his York with the AES New York convention al conventions are the largest gatherings of most interesting, lucrative and prestigious pro- will create a powerful, exciting and more audio professionals in the world and include fessional projects have come about from rela- comprehensive fall opportunity for media workshops, tutorials and technical papers. tionships developed through Society activities. professionals,” said Chris Brown, NAB’s The 2015 AES Convention in New York Through AES-nurtured relationships, Scheir- executive vice president of conventions and had nearly 18,500 registrants and 300 audio- man achieved an understanding of the world- business operations. “Given the co-depen- centric exhibitors. wide audio engineering ecosystem that continues AES16_DAY1_ .indd 7 9/14/16 12:44 PM AES16_DAY3_.indd 40 9/14/16 8:43 PM