Preview Edition | Map and Exhibitor Listings Begin on Page 17 from the Editors of Pro Sound News & Pro Audio Review Vip Preview

vip preview edition | map and exhibitor listings begin on page 17 From the editors of Pro Sound News & Pro Audio Review vip preview

edition the AES Serving the 133rdDA AES Convention • october I 26-29, 2012 LY moscone center san francisco, ca Pro Gear 133rd AES Convention Ready To Roll

Evolution By Clive Young The annual AES Convention will con- Featured At vene later this month in San Fran- cisco’s Moscone Center on October AES 26-29, and the convention’s Technical Program has so much information to By Strother Bullins share with attendees that you’d swear 2012 has already been an exciting the “E” in AES stood for “Education,” year in the evolution of pro audio in acknowledgement of the Society’s technology. Being the de facto gath- primary mission. There’s workshops, ering for audio content creators, the papers, tutorials, engineering briefs, creators of the tools for content cre- special events, convention tracks for ation, and the cutting edge research- specific interests, tech tours and more— ers and developers of audio technolo- The 133rd AES Convention Committee’s all star-line up of volunteers enough to keep you occupied every gies, the editorial staff of the AES includes (from left) Volunteers Co-Chair Evan Peebles, Papers Co-Chair minute of all four days. Daily expects the 133rd AES Conven- Alan Seefeldt, Director/Convention Management Chris Plunkett, The Paper Sessions will cover every- tion and exhibition will further under- Papers Co-Chair Veronique Larcher, Tech Tours Chair Jessica Livingston, thing from networked audio to auditory line what we observe; premium ana- Workshops Co-Chair Jeffrey McKnight, Convention Co-Chair Valerie perception, while Tutorials will explain log technology is still king for many Tyler, Special Events Chair Christopher Smith, Workshops Co-Chair David it all, from forensic digital data analy- of the most discriminating, quality- Bowles, Historical Chair Bill Wray, Live Sound Chair Michael “Bink” sis to social media for engineers and dedicated professionals, but analog Knowles, Convention Co-Chair Jim McTigue, AES Business Development producers. Meanwhile, the Workshops emulation technology is the democra- Manager Steven Green, AES Deputy Director, Roger Furness, A/V will feature provocative offerings like cy in which modern, in-the-box audio “Show Me the Money! Finding Success consultant Dave Molnar, AES Executive Director Bob Moses and Facilities production comfortably resides. in an Evolving Audio Industry;” “Loud- Some product categories are Chair, Bob Megantz. Not pictured are Broadcast/Streaming Chair David ness Wars: The Wrong Drug;” and “The evergreen and to be considered Bialik, Education Co-Chairs John Krivit and Ezequiel Morfi, Game Audio Controversy over Upsampling—Boon essential, such as effective acoustic Chair, Steve Martz, Master Classes/Tutorials Co-Chairs Mike Wells and or Scam?” Can’t tear yourself away design and treatment as well as the Jose “Vene” Garcia, Networked Audio Chair Nathan Brock, Sound from the exhibit floor? No worries— bookends of high-quality micro- For Pictures Chair Brian McCarty, Product Design Chair Conrad Cooke, you can still check out the debut Project phones and monitors. Also notable Volunteers Co-Chairs Michael McConnell and AES Chief Information Studio Expo, featuring practical train- pro gear on page 32 Officer Steve Johnson. See related story on page 3. ing, Q&A sessions and an exhibit area focused on leading edge project studio technology, right on the show floor. Want to learn from recording royalty Mark Your Calendar in person? Catch the Keynote Speech By Steve Harvey button issues from audio networks to sound, sound for picture and prod- by producer Steve Lillywhite (Rolling An AES Convention’s calendar is social networking. uct design. Each track encompasses a Stones, U2, Dave Matthews Band); constantly fine-tuned to reflect the Taking a big tent approach to the diverse program of presentations and the Platinum Producers and Engineers evolving interests of its 14,000-or-so audio business, this year’s themed ses- panel discussions on the issues most panel, with Jack Douglas (John Len- members, as well as exhibitors and sion tracks are on the topics of net- relevant to attendees, put together by, non, Aerosmith), Warren Huart (The attendees, and this year’s schedule is work audio, project studios, game and featuring, experts in each field. Fray, James Blunt) and Narada Michael no exception, focusing on current hot- audio, broadcast and streaming, live calendar on page 32 aes ready on page 32

preview the AES DAILY october 26-29, 2012 moscone center san francisco, ca vip edition Serving the 133rd AES Convention 3

Lillywhite 133rd AES Committee To Keynote Readies World-Class Event For San Francisco 133rd AES Deep into preparation for an extraordi- Jim McTigue states. “This year’s Con- nary 133rd AES Convention, the plan- vention will also see the introduction of ning committee began meeting in Janu- two new tracks,” he continued, referring Convention ary to develop innovative new programs to the Networked Audio Track and the Early this year, the Queen of Eng- for the event set for Oct. 26-29 at San Sound For Pictures Track. land awarded multi-platinum Francisco’s Moscone Center. Veteran AES executive director Bob Moses record producer Steve Lillywhite co-chairs Valerie Tyler and Jim McTigue regards the convention program and with a Commander of The Brit- recruited a stellar collaborative team, special events as prime examples of the SAM the Adaptable ish Empire (CBE) for his contribu- mixing seasoned convention pros with enduring need for “on-site conventions.” Chameleon, the logo of tions to music. While some might enthusiastic new Chairs to insure a high- “During the first six months of my Genelec’s new Smart Active consider this honor the culmina- ly relevant Convention. “Our objective Executive Directorship I’ve spoken Monitor (SAM) Concept tion of a thirty-year career, Lil- is to infuse our events with meaningful with hundreds of exhibitors, educators, lywhite promptly returned to the tracks that anticipate and inform shift- attendees, event developers and partic- recording studio, where he has ing industry trends,” Tyler says. “As San ipants,” he says. “Virtually every one SAM I Am: been busy producing new records Francisco remains a bastion of innova- of them has emphasized the value of for The Killers, Dave Matthews tive thinking, we are well-positioned to the ‘human connection.’ Social media Band and Thirty Seconds To Mars. keep ahead of the curve.” remains a vital and constantly grow- Genelec On Friday, October 26, Lillywhite “Highlighting these new track intro- ing part of our messaging effort. But will take another break from his ductions is a Project Studio Expo with the opportunity for face-to-face net- Shows New studio chores to present the Key- a two-day series of clinics on best prac- working remains indisputable. On-site note Address for the 133rd AES tices and techniques on all aspects of conventions will continue to play an Convention at San Francisco’s creating and operating a small studio. integral role in the AES mandate to Monitoring Moscone Center. They’ve invested in this gear, we want help our attendees ‘Listen, Learn and “Steve Lillywhite is a Produc- to help them take full advantage of it.” Connect.’” er Of The Year Grammy winner Concept who has made an indelible impact Genelec (Booth 911) is introduc- on popular music,” remarks AES ing its new Smart Active Moni- Convention co-chair Jim McTigue. tor (SAM) concept. As part of a “He has collaborated with a stun- New Limited Edition Products new streamlined marketing effort, ning array of artists. His discog- Genelec has folded its line of DSP raphy boasts a remarkable list of monitors under the SAM classi- critically acclaimed and commer- Mark AKG 25th Anniversary fication, which now includes all cially successful projects. He has Celebrating its 65th anni- Genelec monitors with a 82xx versary, AKG (Truck T1) is product name (for instance, the introducing a line of limited award-winning 8260A Tri-Ampli- edition products to com- fied DSP Monitor System). Models memorate its industry lead- in the SAM range are capable of ing, quality and reliable automatically adapting to acous- audio equipment offerings tical environments to offer an to the professional market. indispensable tool for sound pro- The limited edition C451 fessionals in broadcasting, post condenser microphones and production, music studios and K702 headphones, now avail- more. A SAM system can be con- able to music enthusiasts trolled with digital networking, around the globe, are making enabling users to build highly flex- their American debut at AES ible computer-controlled systems 2012. of monitors. Handcrafted in Vienna Dr. Aki V. Mäkivirta, Genelec with the highest attention to research and development man- Steve Lillywhite detail, the limited editions AKG’s K702 Anniversary Edition ager, notes: “Smart Active Moni- of these prestigious prod- headphones toring is a concept that bundles all made an indelible impact on con- ucts are positioned to deliver the benefits of Genelec’s advanced temporary music and he continues renowned AKG quality to sound engi- lightweight membrane and sophisticat- monitoring systems to a single, to hone the razor edge with major neers, producers and musicians around ed acoustic design, which makes it the easily understandable and descrip- new projects. His insights, into the the world. Each are individually tested perfect choice for accurately capturing tive term. SAM is also a concept art of producing and engineering, and numbered to ensure the highest drums, percussion, acoustic guitar and that describes perfectly the cur- coupled with his perspective on the quality. overhead miking. rent technology leap pioneered impact of technology shifts and AKG’s C451 65th Anniversary The K702 Anniversary Edition by Genelec in the evolution of the changes in recording styles, prom- Edition condenser embodies sound headphones bring a new level of preci- active monitoring loudspeaker— ises to provide AES attendees with from the legendary C451 EB with the sion to the line with newly designed the transition from the analog to inspiration, enlightenment and, CK1 capsule delivering stunning qual- genuine leather headband and soft the digital world, where digital unforgettable anecdotes.” ity and precision accuracy. Since its velour ear pads for maximum comfort technologies, along with software Born in the U.K. in 1955, Lil- introduction in 1969, the C451 has during long recording or listening ses- features, increase quality and bring lywhite began his career as a tape been continuously improved and has sions. With its patented Varimotion unique user experiences to the cus- operator for Polygram in 1972. demonstrated its durability under two-layer diaphragm and revolutionary tomers, and enable seamless inte- Co-Chair Valerie Tyler concurs the harshest onstage environments. flat-wire voice coil, K702 delivers pris- gration of monitoring speakers and that Lillywhite’s work “is as rele- The C451’s transformer-less preamp tine sound with incredible impulse and subwoofers to a well-calibrated vant and innovative today as it was enables high sound pressure capabil- treble response. and correctly aligned reproduction at the beginning of his career. His ity, allowing for close miking of high- K702’s reference-style headphones system. At Genelec, we believe that Keynote Address marks an auspi- energy sound sources up to 155 dB SPL boast an over-ear, open-back design, progress towards Smart Active cious beginning for what is shaping without distortion. with extremely accurate response. Its Monitors will open a new era in up to be an exceptional Conven- The reference small-diaphragm is an sophisticated technology allows for the development of the audio mon- tion.” excellent tool for capturing the small- spacious and airy sound without com- itoring industry.” est details of any instrument due to its promise. october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 4 Serving the 133rd AES Convention edition vip

Tech Tours Explore SF’s Shure Ships New Personal Monitoring System Pro Audio Community Shure Incorporated’s (Booth 905) new PSM1000 Personal Monitor System—a “A Bay Area native with a solid back- dual-channel, networkable, profession- ground in all things audio, 133rd AES al monitoring system—is now shipping. Convention Tech Tours Chair Jes- “The Shure PSM 1000 Personal sica Livingston has proven herself an Monitor System outperforms other in- invaluable resource in ferreting out ear monitor systems in many ways,” our town’s most interesting and ‘hap- says Matt Engstrom, Category Direc- pening’ highlights,” says Convention tor for Monitoring Products at Shure. co-chair Valerie Tyler. “The depth of “With best-in-class audio and RF Jessica’s connectivity, coupled with performance, networking connectiv- her instinctive grasp of what would ity, and a diversity bodypack receiver, most appeal to our Tech Tour aficio- 25th Street Recording’s Live PSM 1000 delivers on the demanding nados has shaped a particularly well Room requirements of sound professionals.” rounded schedule this year.” The PSM 1000 system builds on the “My goal was to profile the ing, Polarity Post Production, Out- stellar audio and RF performance of diverse range of SF’s pro audio com- post Studios, Ex’Pression College For Shure’s PSM900 Personal Monitor Sys- Shure’s PSM1000 personal munity,” Livingston says. “From a Digital Arts, Fantasy Recording Stu- tem, while adding numerous advanced monitoring system cutting edge video game creative cam- dios, The Fenix Club, and a Dolby features: pus, to a top-flight school and SF’s Atmos Demo at the Dolby headquar- PSM 1000 System: Ultra-wide 72 full bandwidth scan finds clear, com- latest live performance venue, these ters theater. megahertz tuning bandwidth allows up patible frequencies and provides a tours are designed to be instructive, Tickets for Technical Tours will be to nine systems to operate in one TV graphic spectrum plot viewable from colorful and entertaining.” available on site at the Moscone Cen- channel, and up to 39 systems in one the screen; optional rechargeable Lith- 133rd AES Convention Tech- ter. A Preliminary Calendar of Event frequency band. Backward-compatible ium-ion batteries provide up to eight nical Tours include the Tamalpais dates and times is posted on the www. with PSM 900 components. hours of operation and recharge fully Research Institute (TRI) recording aes.org website. Tickets will be sold at P10R Diversity Receiver: Two in just three hours. complex, studios at game developer the Reception Desk in the main lobby detachable 1Ž4-wave antennas for P10T Transmitter: Full rack, dual- Electronic Arts, 25th Street Record- well in advance of departure. exceptional freedom from dropouts; channel wireless transmitter housed in a touring-grade, all-metal chassis; internal power supply that supports daisy-chaining; networked control via New Preamp/Mixer Joins JDK Family Ethernet that vastly simplifies setup for high channel count. JDK (Booth 923) continues to expand its “Using two identical antennas is product line with the addition of the pow- essential to consistently deliver the erful and versatile 8MX2 preamp/mixer. benefits that diversity operation can Equipped with eight stellar micro- JDK’s 8MX2 preamp/mixer provide,” says Engstrom. “Users phone preamps, each channel contains who are accustomed to the bursts of a variable threshold peak limiter, 48v mixing console. It evolved over the the Beach Boys, Eric Clapton, Brian static and dropouts common in other Phantom Power switch, phase reverse, years into a stand-alone preamp/mixer Wilson, Crash Test Dummies, and systems will be amazed by the PSM direct output and a path to the stereo and is especially popular in remote David Lee Roth. 1000’s performance.” mix bus. The included eight-into-two recording racks and sidecar-like appli- “We own a portable recording sys- mixer receives signal from the mic pre cations. With hundreds in the field, the tem that features six of the 8MX2 pre-

or eight external line level inputs. With 8MX2 can be found in the live record- amp/mixers,” said Linett. “I have taken two 10-segment meters to monitor ing racks for artists such as Jimmy Buf- this system on remotes as far away as Input/Mix and Gain Reduction, head- fet, Cher, Taylor Swift, NBC’s 2012 Anguilla and the combination of the phone and speaker output monitor London Olympics crew, Lilith Fair, great sounding pres and the built-in DAthe AES I LY controls, and multi-unit cue and mas- and the Cowboy Junkies. mixer makes it an exceptionally com- ter capabilities, the slim 8MX2 packs a Engineer, mixer and producer Mark pact 48-track recording package.” vip | preview edition big punch in only 1u of rack space. Linett of Music Mix Mobile West has The 8MX2 is comfortable working on The 8MX2 was developed from been a fan of the 8MX2 for years. He’s either analog or digital projects, and ideal October 2012 technology used in the Paragon live used the versatile units on projects for for in-home, remote or live recording. Adam Goldstein Executive Vice President, Group Publishing Director Tara Preston Associate Publisher AES Sets Workshops Karen Godgart Advertising Sales Director Doug Ausejo Specialty Sales Workshops are always one of the inno- Sound in 3D; Reconsidering Stan- Frank Wells Editorial Director vative features of any AES Convention, dards for Cinema Sound – Alterna- David McGee Editor and this year is no exception. Thanks tives to ISO 2969; Post Production Kieran McGee Pro from Dover to Workshops Co-Chairs David Bowles Audio Techniques for Digital Cine- and Jeffrey McKnight, 133rd Con- ma and Ancillary Markets; Loudness Clive Young Senior Editor vention attendees will benefit from a Wars – The Wrong Drug?; Broadcast- Strother Bullins, Steve Harvey Contributing Editors particularly robust program. “Dozens ers Experiences In The Use of Loud- Fred Vega Production Manager of worthwhile proposals are submitted ness Standards; Acoustics & Audio Workshops Co-Chairs David Nicole Cobban Senior Art Director each year,” says Committee Co-Chair iPhone Apps; Mastering for Spe- Bowles and Jeffrey McKnight Valerie Tyler. “Our Workshops Co- cific Music Genres; The Controversy Brad Glazier Onsite Photographer Chairs’ final picks will challenge visi- over ‘Up-sampling,’ Boon or Scam?; tial Audio Evaluation; What Does an Elvis Patron Saint tors to budget their time in order to Sound Design Tools for Multichannel Object Sound Like? Towards a Com- Steve Palm President & CEO maximize their opportunities to expand Audio With Height; Recording Music mon Definition Of A Spatial Audio Paul Mastronardi Chief Financial Officer their knowledge.” In 9.1 Height Surround; 3D Audio Object; MUSHA Reloaded; What Highlights of the 133rd AES Con- Formats (Multichannel Sound With Every Sound Engineer Should Know Tony Savona Vice President, Content and Marketing vention Workshop Program include Height) Channel or Object Based?; About The Voice; New Delivery Medi- Published by NewBay Media L.L.C. “mini-tracks” on Digital and 3D Cin- Height Channel – Adding The Vertical ums & How To Get There Safely… Or, 28 East 28th Street, New York, NY 10016 ema Sound, Loudness and on Height Dimension To Surround Sound; Multi- Jumping On The New Media Express; Tel: 212-378-0400 Channel (an AES first). Some of the Microphone Applications & Testing and Forensic Authentication of Digital Email: [email protected] topics covered will include Cinema In Telecommunications Systems; Spa- Audio Web: www.nbmedia.com

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 6 Serving the 133rd AES Convention edition vip

Soundcraft Studer Truck Product Design Track Showcases Harman Gear Breaks New Ground At Truck T1, Soundcraft Studer is pair of AKG D5 microphones is also “133rd AES Convention Product showcasing its newly refurbished truck, available for use. Design Track Chair Conrad Cooke featuring a range of Soundcraft Studer The Studio area features Studer’s has developed a groundbreaking digital mixing consoles, JBL Profes- flagship Vista 9 digital mixing con- combination of razor edge Tutori- sional LSR Series studio monitors and sole, which features I/O sharing with als, Workshops and Master Class AKG microphones and headphones. the Vista 5 in the Salon via Studer’s Events,” states Convention co-chair The Salon area of the truck now RELINK resource linking system. Jim McTigue. “This Track is designed features a unique and versatile “work- The system is complemented by a JBL to provide deep insights into emerging station” setup where any combina- LSR6328P surround sound monitor- technology which is expected to have tion of three Soundcraft and Studer ing system. The truck is also showcas- a lasting impact on the field of pro consoles (a Soundcraft Vi1, a Sound- ing compatibility of Soundcraft Studer audio.” craft Vi4 and a Studer Vista 5) can consoles with Riedel RockNet’s audio “My goal was to ferret out the Conrad Cooke be matched with a variety of JBL distribution networking technology most relevant issues facing today’s LSR6325P studio monitor systems and and all Soundcraft consoles take a mul- product designers,” Conrad Cooke facing; AVB Networking For Product flat-screen video displays, which are tichannel audio feed from the Vista 9 says. “I uncovered a wealth of knowl- Designers; and Graphical Audio/DSP placed along movable tracks so that I/o via MADI. edge, and selected thirteen presenta- Applications Development Environ- each console can be configured with With the redesign and refurbish- tions which present techniques to help ment For Fixed And Floating Point any speaker combination to replicate ment, the Soundcraft Studer truck solve some of those common issues. Processors. virtually any mixing scenario. This can now demonstrate up to six mixing We are confident that attendees will combination of products can also eas- consoles at any one time, and features come away with invaluable informa- ily be configured into training stations, a rackmounted Soundcraft Si Com- tion that will greatly benefit their utilizing the video monitors, AKG pact 16 small-footprint digital console, future thinking.” New Sound K240 headphones and Soundcraft plus a rackmounted iPad featuring the 133rd AES Convention Product Studer’s series of training videos. A Soundcraft ViSi app, allowing control Design Track Events include: A Next of any Soundcraft console Generation Audio Processing Suite Forge Pro on the truck at any time. For The Enhancement of Acousti- The interior of the truck cally Challenged Devices; Implement- is now adorned with state- ing Application Processor Agnostic Mac S’ware of-the-art LED lighting, Audio Systems For Portable Con- which can be modified to sumer Applications; Don’t Make From Sony create different moods and Your Product a Noise Nightmare; atmospheres depending Audio For iPad Publishers; Audio In on the activity. The LED HTML 5; Multimedia Device Audio Creative lighting was an important Architecture; Audio DSP Require- Sony Creative Software (Booth 723) environmental and energy- ments For Tomorrow’s Mobile & is releasing Sound Forge Pro Mac efficient decision as they use Portable Devices; Ethernet Stan- 1.0 software, the newest addition to an eighth of the power of dard Audio; Rub & Buzz and Other its line of award-winning audio and a traditional incandescent Irregular Loudspeaker Distortion: video production software products. or halogen light and are not Wolfgang Klippel; An Overview of A multichannel audio recording and Soundcraft Studer’s newly refurbished truck harmful when disposed of. Audio System Grounding and Inter- editing application, Sound Forge Pro Mac software was developed from the ground up on a clean slate for OS X and features an elegant interface that redefines the audio editing experience. The application ships with a full suite of audio mastering and repair plug-ins, making it a comprehensive solution for audio professionals who work on the Mac platform. “People who work on audio editing platforms recognize the need for a fresh option in the marketplace, one that’s built for OS X as opposed to something that’s simply been ported over. In addition, it’s no secret that cross-platform professionals have been demanding Sound Forge for the Mac for years,” says Dave Chaimson, vice president of global marketing for Sony Creative Software. “Our response is Sound Forge Pro Mac, a truly contemporary OS X design. Producers will appreciate its simple elegance, uncluttered look and amazing flexibility. The included suite of mastering and repair plug-ins makes this 1.0 edition a value-packed editing powerhouse right out of the box. Sound Forge Pro Mac is our second major OS X application release this year, and we’re pleased to now be very actively engaged in application development for the Mac platform.”

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 8 Serving the 133rd AES Convention edition vip

Lawo Features 2nd-Gen Sennheiser Unveils Digital mc256 Production Console 9000 Wireless System At Booth 823, Sennheiser is unveil- calculate and circumvent intermodula- At Booth 940, Lawo is intro- ing Digital 9000, a digital wireless tion frequencies but can conveniently ducing the second-generation system that can transmit completely place their transmission frequencies in mc256 production console. uncompressed audio, artefact-free an equidistant grid.” Featuring cross-platform com- and with superb dynamics. Targeting The groundbreaking digital wire- patibility with its two larger broadcasting professionals, (musical) less system is fitted with two trans- mc2 Series siblings—the flag- theatres and high-profile live audio mission modes to suit any need and ship mc2290 and mc2266— events, Digital 9000 sets a new bench- environment. The High Definition the new mc256 introduces a mark in digital wireless transmission. (HD) mode will transmit entirely wealth of new features aimed The system, which includes the EM uncompressed, artefact-free audio, as at streamlining workflow effi- 9046 receiver, SKM 9000 handheld if a high-quality cabled microphone ciencies and increasing one’s and SK 9000 bodypack transmitters, were used. The Long Range (LR) productivity. Lawo’s mc256 production console and a comprehensive suite of acces- mode has been designed for difficult Among the mc256’s new sories, has been meticulously designed transmission environments with many features is real, two-man oper- ier for the operator to visually keep for the highest channel counts in sources of interference. It ensures ation with fully decentralized control track of one’s mix-even in low light today’s increasingly dense frequency maximum range with a proprietary of all parameters including bank and conditions. environment. Sennheiser digital audio codec. “This layer selection, EQ, dynamics and In the areas of monitor and meter- “This system is a masterpiece, refined codec ensures an audio qual- bus assignment-due in no small part ing, the new mc256 takes the end user both in the digital and the wireless ity that is superior to that of an FM to the console’s fully featured ISO experience to the next level. Now with realm,” says Kevin Jungk, portfolio system,” explains Jungk. “These two bay access provisions. The new mc256 permanent metering of the 16 central manager for wireless microphones at modes make Digital 9000 the most now offers improved ergonomic and faders, the console also adds Local Sennheiser. “It offers unprecedented versatile digital wireless system avail- intuitive handling, providing opera- I/O’s that are newly integrated into sound quality and ease of use. For able, and the best adapted to on-site tors greater confidence when working the mixing console surface. Wherever example, users will no longer have to requirements.” under pressure. monitoring or metering, headphones As part of the mc256’s enhanced or talkback are required, operators functionality, the new console also can now simply connect one’s vital provides expanded, simplified touch third-party devices directly to the operation-making workflow more console, further streamlining work- AES Unveils Project Studio intuitive. This applies to operation- flow. al aspects such as VCA allocation, In addition to the aforementioned bus assignment, meter pickup/mode new features, the mc256 provides full Expo At 133rd Convention select, and mix-minus configuration. support of RAVENNA technology This enhanced operation is further for real time processing of audio sig- The 133rd AES Convention will intro- with noted leaders. Saturday Octo- accentuated by the console’s new nals in IP-based networked environ- duce the Project Studio Expo, featur- ber 27th sessions are It Won’t Sound button-glow provisions for color- ments. With as many as 256 I/O’s ing practical training and an exhibit Right If You Don’t Hear It Right: coding the channel strips. Similarly, per CAT-5 line, this capability not area focused on leading edge project Studio Acoustics and Total Tracking: the new mc256 provides Illuminat- only conserves precious space in, for studio technology. Developed in part- Get It Right At Source—Choosing ed rotary knobs for an even better example, an OB van; it also provides nership with Sound On Sound and & Recording Your Sound Source, overview-all of which makes it eas- greater cost efficiencies. Craig Anderton, the Project Studio both with presenter, Hugh Robjohns; Expo (PSE) brings the latest recording Mixing Secrets: Production Tricks techniques, best practices, and practi- To Use With Any DAW, with Mike cal tips from leaders in the recording Senior; Master Your Tracks: DIY business. “I think we can safely say Results to Compete With The Pros, this two-day event will be a highlight with Craig Anderton; You Ask, We of the convention,” states AES execu- Answer: Q&A session, with Modera- tive director Bob Moses. “It builds tor Hugh Robjohns and a panel that on AES’s long history of leadership in includes Paul White, Mike Senior & the recording industry, and addresses Guests; and Take Your Studio On issues of deep importance to people Stage: Live Performance With Lap- working in small studios. Based on tops, Looping Pedals & Other Studio early feedback from industry pros, I’m Tech, with Craig Anderton. Several confident we have hit a home run with of these sessions will repeat on Sun- this event.” day, where additional sessions will Indeed, in a rare joint statement co- include Keeping The Human Ele- signed by Sound On Sound editorial ment In The Digital Age: Ways To director Dave Lockwood and editor Keep Music Sounding Alive And Paul White; Craig Anderton, execu- Interesting, with Craig Anderton; tive editor, Electronic Musician and Master Your Tracks: DIY Results editor in chief, Harmony Central; to Compete With The Pros, with Frank Wells, editor, Pro Sound News Craig Anderton; Make Music With and the AES Daily; Sarah Jones, edi- Your iPad: Hot Apps, Great Gadgets tor, Electronic Musician; Tom Kenny, & All Things IOS; and capping the editor, Mix; Strother Bullins, editor, Expo program, an Ask The Editors: Pro Audio Review; and Tape Op editor/ Q&A Session, with moderator: Hugh founder Larry Crane, and publisher Robjohns; Paul White, Sarah Jones, John Baccigaluppi, these industry lead- Frank Wells, Strother Bullins, Larry ers stated: “We strongly support AES Crane and Tom Kenny. in striking out in this new direction. We Notes Moses: “The Project Studio believe that in the years to come, the Expo brings the AES into alignment Project Studio Expo will continue to with the reality of today’s industry and grow, and in the process, enhance the addresses the latest techniques, best overall Convention.” practices and workflow. Anyone doing Scheduled for Oct. 27-28 at SF’s professional work in a small studio Moscone Center, the PSE will feature should come to listen, learn, and con- in-depth clinics and Q&A sessions nect with their peers and mentors.”

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 10 Serving the 133rd AES Convention edition vip

Full Compass ‘Circus Of Chefs’ Lectrosonics Is Bud Gala Supports Museum Raymond’s Mainstay Full Compass Systems (Booth 746) For those audio professionals work- once again sponsored Circus of ing “in the trenches,” the ability to Chefs…The Gala 2012. Owners capture sound accurately and reliably Jonathan and Susan Lipp, in coop- the first time around is of paramount eration with co-chairs Merlin and Jen- importance. There simply isn’t much ele Zitzner, owners of the Baraboo opportunity for another take. That’s National Bank, organized the event precisely why Bud Raymond, a loca- that hosted 600 guests on June 10th. tion sound professional who works in The ninth annual gala raised over TV and film, relies on Digital Hybrid $173,000 for Circus World Museum, a Wireless technology from Rio Rancho, site owned by the Wisconsin Histori- NM-based Lectrosonics (Seminar). cal Society that focuses on preserving Wherever Raymond goes, a Lec- the history of circus entertainment and Jonathan Lipp presents the ‘Best trosonics VR FIELD battery pow- memorabilia. In addition to countless Dessert’ award to Pastry Artist ered, modular receiver system stocked Bud Raymond hours of preparation, Full Compass Aryll Pullum of Ostera Design with six VRS receiver modules and a also staffed the event. (Janesville, WI). VRMWB Venue receiver system with series transmitters, “I love having the Circus clowns and performers, as three VRT receiver modules are always ability to adjust levels on my SM trans- well as live jazz, entertained attendees panel of 20 judges, each an expert in close by. His transmitters include three mitters. It’s really handy and I use this as they dined and viewed a breathtak- his or her field including chefs and chef Lectrosonics UM450 beltpack units, feature frequently.” ing array of over 330 auction items. instructors, brewmasters, pastry chefs, three UM400a beltpack transmitters, According to Raymond, “Every Donors enjoyed free martinis and tast- TV cooking personalities, and wine one SM super-miniature beltpack film I have ever worked on, starting ed gourmet food, wine, beer and coffee makers. After the meal, the crowd was transmitter, and an SMV super-min- in my days as a utility sound techni- from 36 local restaurants, breweries treated to The Big Top Show, a sam- iature beltpack transmitter. He also cian, has been done with Lectrosonics. and wineries. The top chefs received pling of circus entertainment featuring notes that he’s become very fond of After 12 years of use, I have a comfort coveted Silver Tray awards for best aerialists, a juggling act, horse tricks Ambient Recording’s iPhone app level with the gear that I simply don’t appetizer, entrée, dessert, beer, and and a performance by master illusion- called Lectromote for use with his SM have with any other equipment.” wine. The winners were chosen by a ist, Tristan Christ.

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 12 Serving the 133rd AES Convention edition vip

A-T Celebrates 50th With Limited Edition Products

Audio-Technica (Booth 705), is AE4100/LE cardioid dynamic hand- ings in their product line, these prod- offering a number of limited edi- held microphone, AE5400/LE cardi- ucts are limited-edition versions of tion products, all featuring a dis- oid condenser handheld microphone, A-T’s ATH-M50s, AE4100, AE5400, tinct Audio-Technica 50th Anniver- AE6100/LE hypercardioid dynamic AE6100, AT4050 and the legacy prod- sary design and color scheme. The handheld microphone, AT4050/LE uct ATM25. products include ATH-M50s/LE multi-pattern condenser microphone The LE/Anniversary limited edi- professional studio monitor head- and AT4050URUSHI multi-pattern tions feature A-T’s classic silver-col- phones, ATM25/LE hypercardioid condenser microphone. Representing ored metallic finish with blue accents, dynamic instrument microphone, just some of Audio-Technica’s offer- and the AT4050URUSHI sports a

Audio-Technica’s AT4050URUSHI multi-pattern condenser microphone stunning traditional urushi lacquer finish with hand-painted Japanese maple leaves. The AE4100/LE, AE5400/LE, AE6100/LE, AT4050/LE, AT4050U- RUSHI and ATM25/LE all feature a unique anniversary serial number etched on the surface of each model. Of special note is the ATM25/LE, a re-emergence of the classic ATM25 Hypercardioid Dynamic Instrument Microphone. Based on direct input from end-users and dealers, Audio- Technica chose its 50th anniversary to bring back a special edition of the classic ATM25. The new ATM25/LE is ideal for kick drum, toms and other highly dynamic instruments; handles very high SPL at close range; provides big, warm low-frequency response with excellent presence; offers very full sound on close-up vocals and dialogue. Direct Sound Now Made In The USA Direct Sound (Booth 528), makers of Extreme Isolation headphones, has completed its transition from foreign manufacturing to being made in the United States. The in- sourcing phase began in early 2011 and was successfully completed by July 4, 2012, as a way of honoring America. “Being made in the U.S. gives us better control and greatly enhances new product development, while creating many new jobs for U.S. workers. It is something we are quite proud of,” says senior vice-president Steve Rois. “Direct Sound is committed to being part of the solution, not the problem, as we have also initiated methods of being environmentally responsible, in addition to being dedicated to the ingenuity of the American worker.”

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 14 Serving the 133rd AES Convention edition vip

Lexicon Offers Individual Plug-Ins From PCM Products Lexicon (Truck T1) is now offering individual plug- represents our commitment to provide Lexicon users ins from its popular PCM Native Effects and PCM with greater flexibility and ease to obtain exactly the Native Reverb Bundles. A total of 14 plug-ins will sound quality they are looking for from the specific be available including Pitch Shift, MultiVoice Pitch, plug-in(s) they need for any project,” says Rob Urry, Chorus, Resonant Chords, Random Delay, Dual vice president Harman Professional Division and Delay, Stringbox, Vintage Plate, Plate, Hall, Room, GM of Signal Processing and Amplifier Business Random Hall, Concert Hall and Chamber. Units. Lexicon’s new individual plug-ins from PCM “Offering the individual plug-ins from our PCM The PC- and Macintosh-compatible plug-ins Native Effects and PCM Native Reverb Bundles Native Effects and PCM Native Reverb Bundles are designed to work with popular DAWs like Pro Tools, Logic and Nuendo, as well as with any other VST, Audio Unit or RTAS-compatible host. Sound For Pictures Track Set For AES Debut The 133rd AES Convention is introducing a dedicated Sound For Pictures Track. The Track is co-chaired by leading sound mixer/producer Brian McCarty (The Big Lebowski, Dick Tracy, As Good As It Gets) and by Steve Martz, senior design engineer, THX Ltd. Key issues to be addressed by the Sound For Pictures Track include: Post Production Techniques, Standards and Multi-Channel Formats for Digital Cinema. “The AES is the leading forum for audio for film and TV sound,” McCar- ty says. “Top sound mixers have been attending the Convention for years to exchange ideas and information and kick the tires on new technology. Early this year we formed a Technical Com- mittee on Sound for Digital Cinema & TV. Our objective is to adopt a consistent approach for Digital Cinema sound installations, and contemporary digital dubbing stage recording and mixing activities worldwide. Based on the initial reception to this Commit- tee, executive director Bob Moses felt it was time to develop a formal AES Convention Track for this increasingly important field.” He continues, “Our Workshop par- ticipants are all outstanding leaders in their fields. The ‘New Multi-Formats For 3D Cinema’ panel is a particularly newsworthy event. Gathering developers of competitive systems together for a high level, working dialogue is a major coup which may have important ramifications for film exhibitors.”

Brian McCarty

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 16 Serving the 133rd AES Convention edition vip

JBL Showcases LSR Aphex Series Studio Monitors Expands 500 At Truck T1, JBL Professional is Reference design ensures not just the showcasing its full line of LSR Series direct sound from the speaker, but Series With studio monitors, along with the MSC1 also the speaker’s off-axis reflected Monitor System Controller, designed sound, is neutral for greater accuracy New Modules to provide greater accuracy, even in at the mix position in a broad range acoustically challenged mobile broad- of acoustic environments. Aphex (Booth 715) is introducing cast and project studio control rooms. A second technology, JBL RMC its new 500 Series modules. The JBL’s LSR studio monitors include addresses the low frequency problems 500 Series now includes six mod- the flagship LSR6300 Series, the rev- in production control rooms. Varia- els: J PRE 500 Mic Pre; EQF 500 olutionary LSR4300 Series and the tions in low frequency response caused Parametric Equalizer; DUAL RPA affordable LSR2300 Series studio by room modes and speaker place- 500 Mic Pre; A PRE 500 Mic Pre; monitors, plus the MSC1 Monitor ment can produce exaggerated bass the COMP 500 Optical Compres- System Controller, which tunes any response that can mislead audio engi- JBL’s LSR4300 Series studio sor; and the acclaimed, previously speakers for greater accuracy in prob- neers. JBL’s RMC Room Mode Cor- monitor unveiled EX•BB 500 Aural Exciter/ lematic rooms. rection technology compensates for Big Bottom module. Depending on the acoustics of low frequency irregularities with a sys- series models include RMC technology The J PRE 500 mic pre is inspired the production space and the work- tem that measures the room’s low fre- in the speaker, JBL’s MSC1 Monitor by the flagship Aphex 1788A remote ing distance from the speakers, up quency response and applies corrective System Controller with RMC technol- controlled preamp. They both have to 50 percent of the sound heard in filters. All three JBL studio monitor ogy can be used with the affordable the same Jensen JT11K8 nickel input a production room can be reflect- lines offer an RMC solution. While the LSR2300 series studio monitors or any Transformer and Aphex patented ed sound. JBL LSR Linear Spatial JBL LSR4300 series and two LSR6300 speaker system. Mic Limiter technology. Designed to provide no-compromise audio quality in the convenient 500 series format, the J PRE 500 also features a Jensen JT-11DL nickel output-balancing transformer. TV Talk Shows Embrace Dan Dugan Mixers The EQF 500 reissue is a modern take on the classic Aphex EQF-2 Dan Dugan Sound Design (Booth 930) matic mixing controllers. CNN pur- phones, Dugan mixing provides a 500 series three-band equalizer, automatic mixing controllers have chased seven Model E-1A units for its seamless transition that sounds per- originally introduced in the 1980s. been placed throughout the past sev- Atlanta studios in March 2012, and fectly natural to listeners.” The DUAL RPA 500 mic pre is a eral months into some of the broadcast ABC’s The Chew also purchased Model In addition to broadcast talk appli- two-channel solid state/tube hybrid industry’s most high-profile television E-1A units. cations, Dugan mixers are deployed preamp. The solid-state front end talk shows. “Dugans are extremely useful in fast daily at live events such as corporate or provides a fast transient response NBC’s Meet The Press began using paced, live environments such as talk town hall meetings, training sessions, while the tube back end provides Model E-3 units shortly after the and variety shows,” says Dan Dugan. and conferences. More than 500 Model warmth and punch. product’s release earlier this year, and “They allow the operators to focus on E, E-1 and E-1A units have been sold, The A PRE 500 mic pre is inspired recently ordered additional units. The audio quality rather than having to and nearly 800 Dugan-MY16 cards for by the popular Aphex 188 eight- Emmy winning Daily Show hosted by ride faders through the show. Unlike Yamaha mixers have been purchased channel preamp. They both use a Jon Stewart also uses Model E-3 auto- gated automixers that can upcut micro- since their introduction last year. custom designed Aphex input Trans- former. Like the 188, the A PRE 500 also features a Jensen JT-11DL nickel output balancing transformer. The new COMP 500 module is an optical compressor. It features an electronically balanced input and uses a Jensen JT-11DL nickel output balancing transformer. The OC-500 features stereo linking, and provides all the transparency of an optical compressor with the flexibility to get aggressive compression when needed. The EX•BB 500 is a mono, 500 Series module version of the popular Aphex Aural Exciter and Opti- cal Big Bottom processors. Each processor has a dedicated, lighted enable button.

The new range of Aphex 500 Series modules, shown here, includes the PRE 500 Mic Pre; EQF 500 Parametric Equalizer; DUAL RPA 500 Mic Pre; A PRE 500 Mic Pre; the COMP 500 Optical Compressor; and the EX•BB 500 Aural Exciter/Big Bottom module. preview the AES DAILY october 26-29, 2012 moscone center san francisco, ca vip edition Serving the 133rd AES Convention 17 exhibitor | listings

Abletec 701 ACO Pacific, Inc. 714 Acoustical Solutions, Inc. 704 133rd AES convention october 26-29, 2012 ADAM Audio USA 749 | Adobe 820 Advanced Audio Microphones 738 moscone center san francisco, ca AEA - Audio Engineering Associates 829 AES San Francisco Section 613 Agilent Technologies 540 A.I.R. Music Technologies 805 Akai Professional 805 AKG T1 Alairex 1128 Alesis 805 Alto Professional 805 American Express OPEN 1241 AMI, Inc. 1139 AnaMod LLC 1125 Antelope Audio 1118 Aphex, LLC 715 API 923 EXIT FREIGHT FREE AISLE 12'-9" EXIT APRS 635 10' 20' 60' ATC Loudspeaker Technology 1105 5' 5' 546 30' ATR Magnetics 1129 749 20' Audio Media 620 10' 10' Audio Plus Services 837 20' 746 20' 1146 T1 Focal Professional 837 20' 10' Audio Precision 916 544 20' 645 20' 844 1045 1144 audio.studioshare.orgâ„¢ 530 20' ALSO 1108 542 543 742 743 842 942 1042 1043 1142 1143 1242 Audio-Technica U.S., Inc. 705 20' 20' 20' Audio Technology 10' Switzerland USA (NAGRA) 713 540 541 20' 641 740 40' 940 941 1040 1241 Audiomatica SRL 1214 Audix Corporation 719 538 539 638 639 738 739 938 939 1038 20' 1138 1139 1238 1239 Augspurger Monitors 645 20'

Aural Sonic 511 536 537 20' 20' 736 737 836 837 937 1036 1037 1137 1236 1237 Auro Technologies 538 20' Aurora Audio International 1209 535 634 635 734 835 934 935 1034 1234 1235 Avalon Design 1204 50' 30' Avenson Audio 1121 532 832 1033 1232 1233 BAE Audio 941 20' 20' Bass Player 620 30' 530 831 930 931 1030 1131 1230 Belden 706 10' 10' 20' 10' 15' 10' 15' 20' 10' 10' 20' 20' 20' Benchmark Media Systems, Inc. 519 528 529 629 729 828 829 928 929 1028 1029 1128 1129 1228 1229 BeStar Technologies Inc. 523 Black River at Sound Stage 1235 EXIT MANDATORY AISLE 10' EXIT Brainstorm Electronics 1112 20' 20' 1000 AISLE 1100 AISLE 1200 AISLE

Bricasti Design 1228 500 AISLE 600 AISLE 700 AISLE 800 AISLE 900 AISLE 524 525 624 625 725 1025 1124 1125 1224 1225 Broadcasters General Store 734 20' 20' 20' 20' Bruel & Kjaer 607 20'

BSS Audio T1 522 523 20' 623 722 723 822 823 923 1023 1122 1123 1222 1223 Bubblebee Windscreens 1112 Burl Audio 1137 520 521 620 621 720 20' 820 1021 1121 1220 1221 Canare 1234 20' 20' Cartec Audio 1128 518 519 618 619 718 719 818 819 20' 20' 1019 1118 1119 1218 1219 Cascade Microphones 1238 10' The China Audio & Video 817 916 917 Engineering Group 532 CB Electronics 831 514 515 615 714 715 1214 1215 CEDAR Audio Limited 935 E 10' 20' 20' 20' 20' FREIGHT FREEAISLE Chandler Limited 1107 FREIGHT FREEAISLE FREIGHT FREEAISLE EXIT 30' CharterOak Acoustic Devices 610 512MANDATORY AISLE 513 612 613 20' 713 812 MANDATORY AISLE 20' 20' 20' MANDATORY AISLE 1112 1212 1213 Church Production Magazine 1233

Clear-Com 1218 511 610 20' 710 811 910 911 60' 1110 1111 20' 1211 Cloud Microphones, LLC 1128 20' Cogswell Polytechnical College 1211 609 20' 1108 1109 1208 1209 Coleman Audio 1122 20' 20' 20' 30' 30' Coles / AEA 829 607 706 1106 1107 ting for 200 20' 20' 20' 20' Community Professional Loudspeakers 1025 20' Crane Song Ltd. 1106 505 605 704 705 805 905 1005 1104 1105 1204 1205 Crookwood Audio Engineering 1236 Crown International T1 FREIGHT FREE AISLE / MANDATORY AISLE 10' EXIT

D.W. Fearn 1110 20' 70' Dan Dugan Sound Design 930 Dangerous Music, Inc 837 500 502 504 506 508 510 700 701 702 MAIN ENTRANCE 1001 dbx Professional Products T1 MAIN ENTRANCE DELTA SenseLab 536 Direct Sound Headphones LLC 528 DirectOut GmbH 1221 DPA Microphones, Inc. 629 Hal LeonardAUDIO Corporation ENGINEERING1037 MIDI Manufacturers ProfessionalSOCIETY Audio Design, Inc. 645 Sony Creative Software 723 DSP4YOU 1036 Harman International T-1 Association Incorporated 537 Pueblo Audio, Inc. 940 Sony Pro Audio 811 E.A.R. Inc. 1034 Hosa Technology,OCTOBER Inc. 27-29,508 2012Miktek 641 Pulse Techniques, LLC 1109 Sound Devices, LLCCURRENT AS OF : 10-01-12 934 Earthworks, Inc. 725 Hypex Electronics B.V. 612 Millennia Media, Inc. 515 QES Labs 520 Sound Ideas 1023 Eckel Industries Acoustic Div. 535 IndependentMOSCONE Audio, Inc. CENTER937 Mix - NORTH HALL D620 R&D Team Software Development 1030 Sound on Sound 500 Electronic Musician 620 ThermionicSAN CultureFRANCISCO, 1038 CAMogami Cable 720 RAD Distribution, Inc 743 Soundcraft T1 Electroswitch 737 IsoAcoustics, Inc. 742 Mojave Audio Inc 1213 Radial Engineering Ltd. 546 Soundproof Windows 1045 Elektor / Circuit Cellar 1230 iStarUSA Group 842 Moog Music Inc. 1222 The Recording Academy 609 SoundToys, Inc. 619 Eleven Dimensions Media, LLC 639 iZ Technology Corporation 1033 Munro Acoustics 638 The Recording Studio Insurance Program 1219 Society of Professional Audio Recording Music Maker Publications 1212 Elysia GmbH 1128 iZotope, Inc. 505 Resolution 522 Services (SPARS.COM) 1123 Music Marketing, Inc. 521 Empirical Labs 1128 JBL Professional T1 Revolver Magazine 620 Spectra Sonics 942 Music Player Network 620 Stagetec USA 529 ESI Audiotechnik GmbH 639 JDK Audio by API 923 Rhoades Audio Design 1235 MXL Microphones 718 Stanford Research Systems 836 Etani Electronics Co., Ltd. 623 JIB Germany 1239 Rohde & Schwarz, Inc 828 Mytek Digital 544 Studer T1 Eventide, Inc. 812 JoeCo Limited 518 Roll Music Systems, Inc. 1121 Extreme Isolation Headphones 528 Neumann 822 Studio Six Digital LLC 1021 John Hardy Co. 832 Royer Labs 1215 Fairlight 543 Neutrik USA, Inc. 917 Tac System, Inc. 831 Josephson Engineering 928 RTW GmbH & Co KG 1144 Flux:: Sound and Picture Development 1043 NewBay Media LLC 620 Tape Op Magazine 1040 Keyboard 620 Rupert Neve Designs, LLC 1131 Focal Press 1208 Neyrinck 1043 TC Electronic 1019 Klippel GmbH 1030 Samar Audio Design, LLC 1223 Focusrite Novation 1205 NKK Switches 524 Sandhill Audio Oy 639 TELEFUNKEN Elektroakustik 1224 Kush Audio 1128 Fraunhofer IIS 729 NTI Americas Inc. 818 Sanken Microphones/plus24 1112 THAT Corporation 929 Latch Lake Music 835 Fredenstein Professional Audio 1129 NUGEN Audio Ltd 512 SBS 1128 TransAudio Group 1104 Lauten Audio 837 Full Compass Systems Ltd. 746 Numark 805 Schoeps Microphones 624 True Systems 823 Lavry Engineering 817 Gearslutz.com on-line pro audio forum 1138 OPTOCORE NORTH AMERICA 1229 Schurter, Inc. 740 TruNorth Music and Sound, Inc. 1146 Lawo North America Corp 910 Gefen Inc. 819 PACSYS Limited 1030 sE Electronics 1131 Undertone Audio 1142 Lewitt Audio 1146 Genelec, Inc. 911 Pelonis Sound and Acoustics, Inc. 1128 Audio Amateur featuring Linear Audio 1230 Victrex Polymer Solutions 736 Lexicon Professional T1 Gepco International / General Cable 1028 Pendulum Audio, Inc. 1125 Sennheiser Electronic Corp. 823 Vintage King Audio 1111 Listen, Inc. 605 General Cable / Gepco International 1028 Performer Magazine 530 Shoreview Distribution 811 VocalBooth.com 634 Little Labs 1108 Globe Plastics 514 Phoenix Audio LLC 621 Shure Incorporated 905 VOVOX 837 Lundahl Transformers 1143 Gordon Instruments 1119 plus24 1112 Simaudio MOON 837 Wave Distribution 1128 Grace Design 612 Lynx Studio Technology, Inc. 615 PMC Monitors 722 Slate Digital and Yellow Matter Webster University - Great River Electronics 928 M-Audio 805 PMI Audio Group 1029 Entertainment 938 Audio Aesthetics & Technology 1232 Grimm Audio 612 MAGIX AG 525 PreSonus 502 Solid State Logic 1005 Weiss Engineering 625 Guitar Aficionado MagazineÂ 620 Mercury Recording Equipment Co. 1124 Primera Technology Inc. 1225 Sonic Farm Audio 738 WhisperRoom, Inc. 844 Guitar Player 620 Materion Electrofusion 1220 Prism Media Products, Inc 722 Sonic Studio LLC 1042 Women’s Audio Mission 739 Guitar World Magazine 620 Media Vision USA 510 Pro Audio Distribution 645 Sonivox 805 Zaxcom Audio 931 H.E.A.R. - Hearing Education & Merging Technologies 939 Pro Audio Review 620 Sonnox Ltd. 504 Zynaptiq, GmbH 639 Awareness for Rockers 513 Microtech Gefell GmbH 618 Pro Sound News 620 Sontronics Microphones 645 AS OF 10/2/2012 october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 18 Serving the 133rd AES Convention edition vip

ADAM Audio Targets Wide A Full AES Slate for Recording Academy P&E Wing User Base With F Series In recent years, The Recording Acad- MY-winning engineer Elliot Scheiner emy Producers & Engineers Wing (the Eagles, Foo Fighters, Faith Hill), At Booth 749, ADAM Audio is seven-inch woofer and a 60W (rms) (Booth 609) has illuminated those who with more panelists to be announced. introducing the F Series profession- A/B amplifier produce an exception- labor behind the scenes to create music *As part of its mission to promote al monitors with signature tweeter ally low and tightly defined bass by highlighting their achievements and high-quality sound, the Producers & technology that provides unsurpassed response. educating about best practices. The Engineers Wing, in collaboration with performance at the most accessible A small yet powerful subwoofer, P&E Wing provides a forum where all the Audio Division of the Consumer prices in the compa- the SubF features recording professionals—from produc- Electronics Association, is debuting a ny’s history. a robust eight-inch ers, engineers and studio personnel to GRAMMY.com-based microsite. The The new F Series woofer with driven by retailers, manufacturers and educa- site, which will be cross-promoted via consists of the F5 and a 150W (rms) PWM tors—can work together to preserve P&E Wing and CEA social media plat- F7 nearfield monitors (pulse width modula- and grow their industry. Now, as both forms throughout 2013, will function as and SubF dedicated tion) power amplifier. the music industry and consumers are a repository providing information to subwoofer. Both the The amp stays cool rediscovering the value of high fidelity both consumers and audio profession- F5 and F7 employ while handling maxi- recordings, the Wing has taken a lead- als about sound quality. the company’s new mum power levels, ing position with a continued effort to *The P&E Wing is renewing its ART tweeter that even when sustained. advocate and educate about the impor- partnership with Harman Professional provides performance Several controls to tant role sound quality and audio pro- Group (HPro) leading brands AKG similar to ADAM’s adjust the subwoofer fessionals play in communicating the Acoustics, JBL Professional and Lexi- acclaimed X-ART are located on the emotional and artistic intent of record- con for 2012-2013. This longstanding tweeter in a smaller rear panel: a volume ed music. At the 133rd AES Conven- relationship has proved a fruitful alli- size to fit the new ADAM Audio’s F5 knob (-∞ to +6 dB), a tion in San Francisco, the P&E Wing ance in educational and creative initia- form factor with the nearfield monitor control for the cross- will be holding a number of events and tives focused on sound quality. same pristine clarity over frequency, and a making the following announcements: *The Recording Academy has also and unique resolution as its predeces- phase switch. The SubF is an ideal *In what is becoming a yearly tra- launched “Give Fans The Credit,” a new sor and slightly less efficiency and match for both the F5 and the F7 dition, at the 133rd AES Convention national campaign that will enhance maximum SPLs. monitors wherever a deeper and more the P&E Wing will present a third itera- fans’ discovery of new music and help Designed for smaller rooms, the powerful bass response is required. tion of the GRAMMY SoundTables ensure that all music creators are cred- compact F5 features the new ART Several controls provided to event titled “Sonic Imprints: Songs That ited for their work on digitally released tweeter, which is powered by a 25W adjust the F5 and F7 monitors to the Changed My Life” on Saturday, Oct. recordings. Meanwhile, the P&E Wing (rms) A/B amplifier, and a five-inch environment are located on the rear 27 from 2 p.m. to 3:30 p.m. The ses- continues its efforts toward finding tech- midwoofer also powered by a 25W panel: two room EQs for the high sion will explore music that has inspired nical solutions to the problem of lack of (rms) A/B amplifier. (>5kHz) and the low (<300Hz) fre- and shaped influential careers and will crediting in digitally released recordings. The F7 continues ADAM’s most quencies as well as a volume knob be moderated by GRAMMY-winning *Finally, the P&E Wing has popular configuration using technol- (-∞ to +6 dB). In addition, there is an engineer Ed Cherney. Panelists are announced its 2012–2013 Steering ogy that makes it affordable to the 85Hz high pass filter to facilitate the scheduled to include GRAMMY win- Committee: Chuck Ainlay, Carlos widest range of users. It is equipped use of a subwoofer. There are both ner Leslie Ann Jones (engineer for Her- Alvarez, Eric Boulanger, Richard Bur- with the new ART tweeter, driven XLR combo (jack) and RCA connec- bie Hancock, Kronos Quartet, Bobby gess, Ed Cherney, Mike Clink, Bob by a 40 watt A/B amplifier for the tors on the rear panel as well. McFerrin), Skywalker Sound’s director Ludwig, James McKinney, Phil Nicolo, unsurpassed clarity and precision All F Series products are expected of music recording and scoring; com- and Dan Workman. ADAM is known for worldwide. Its in the United States in early 2013. poser/producer Salaam Remi (Fergie, Nas, Amy Winehouse); and GRAM- Lewitt Upgrades DTP Mics The two high performance workhors- es of Lewitt Audio’s (Booth 1146) DTP Percussion series, the DTP 340 REX and the DTP 640 REX, have undergone a model upgrade in 2012. Now the two bass specialists are even more versatile and specialized. The word on the street is that this is the “best kick drum mic ever!” Both the DTP 340 REX and the DTP 640 REX will now have a slide control-activated Enhanced Fre- quency Response (EFR) in which the dynamic element guarantees a powerful sound emphasizing frequencies from 70-150 Hz and 3-5 kHz— especially optimized for use on kick drums. The flagship of the DTP series, the DTP 640 REX, combines this sound quality with the advantages of dual-element technology— a dynamic element and condenser element precisely positioned in the housing to capture the sound as com- prehensively as possible will naturally still remain on separate channels on the mixing board.

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 20 Serving the 133rd AES Convention edition vip

Game Audio Track WAM Celebrates ‘Women Ready To Go In Live Sound’ At AES The popular Game Audio Track will Women’s Audio Mission (WAM), a a group of excellent female engineers continue to break new ground. “As a non-profit dedicated to the advance- from a variety of audio disciplines at Senior Design Engineer at THX Ltd., ment of women in music production AES on Saturday, October 27 at 3:30 and an accomplished studio design and the recording arts, will lead panel p.m. More information about the consultant for over 1,500 rooms, discussions and provide demonstra- SPARS event is available at http:// including Sony Computer Enter- tions of its online curriculum, Sound- spars.com/events/aes-2012-speed- tainment, Square ENIX, Activision, Channel, in Booth 739 in addition mentoring. Electronic Arts, THQ and Skywalk- to hosting the organization’s semi- SoundChannel’s interactive and er Sound, Steve Martz is eminently annual AES after-party on Saturday, self-paced training materials are avail- qualified to Chair our Game Audio October 27 at 6 p.m. able entirely online at http://www. Track,” Committee Co-Chair Valery Terri Winston will moderate soundchannel.org/ for a small month- Tyler said. “The events and presenters “The Women of Professional Con- ly subscription. Women’s Audio Mis- he has assembled for the 133rd AES cert Sound,” a panel hosted by WAM sion will showcase the latest modules Convention are exemplary. We antici- to showcase female front of house and additions to SoundChannel’s pate an extremely high turnout for each (FOH) engineers for artists like Pink, e-library at Booth 739. of them.” Track events will include Ke$ha, Herbie Hancock, Gwen Ste- On October 27, from 6-8:30 p.m., Building an AAA Title – Roles & Steve Martz fani, Pearl Jam, and televised events WAM will host its semi-annual Responsibilities; Game Audio in a Web like The Tonight Show with Jay Leno, WAM AES After-Party at 111 Minna Browser; The Future is Now - Mind Applications; A Whole World in Your the Super Bowl and more. The panel Gallery, just blocks from the Conven- Controlled Interactive Music; New Hands - New Techniques in Generative will take place on Sunday, October tion Center. WAM is looking forward Models for Game Audio Education Audio Bring Entire Game Worlds Into 28, at 11 a.m. and will focus on each to a stellar event, with special thanks in the 21st Century; Careers Panel – the Realms of Mobile Platforms; Get- engineer’s rise to the top of their field. to the following industry sponsors Getting A Job In The Game Industry; ting Into Sound Design; Doing More Panelists will share tips and best prac- for their generous support: Ableton, Demo Derby – Music & Sound Design with Less - How Games ‘Immersively’ tices that they’ve learned during a AEA, A-Designs, British Audio Engi- Critique; Loudness Issues in Games; Simulate Audio on a Budget; Audio career of constant touring and include neering (BAE), Direct Sound Extreme How to Use the ‘Interactive Reverbera- Shorts (Tools); and the PopCap and such prominent FOH engineers as Isolation Headphones,Drexel Univer- tor’ - Theoretical Bases And Practical Playfish Tech Tours Claudia Engelhart, Deanne Frank- sity’s Music Industry Program Pro- lin, Karrie Keyes, Jeri Palumbo and fessional Sound Services, Propeller- Michelle Sabolchick Pettinato. head Software, Shure, Sweetwater, Winston will also speak on the iZotope, and Universal Audio. This audio education forum “What Kinds always-popular event will fill up of Studios are Built for Education?” quickly—arrive early and stay for on Sunday, October 28 at 1:30 p.m., music from all-girl, all-teen pop-punk where she will focus on how curricu- band The SHE’S (which released an lums and pedagogy affect studio/facil- album with Women’s Audio Mission ity design while also addressing how in 2011) and all-girl punk/folk duo women can be better represented in The Bayonettes. All microphones for audio education. WAM is also col- the party performances will be pro- laborating with SPARS on a series vided by Shure. Visit Booth 739 to get of speed mentoring sessions featuring a free party pass. dbx Showcases New Personal Monitor Controller At Truck T1, dbx is showcasing its PMC Personal Monitor Con- troller, a remote control located near the performer that lets them easily set up and control their own personal mix of up to 16 channels of audio. The dbx PMC Personal Monitor Controller is the ultimate answer for musicians everywhere who ask their sound- man for, “more me! less them!” dbx’s PMC Personal Monitor Controller The attractively priced dbx PMC lets users precisely dial in the tems with a single compact mixing levels of up to 16 channels of audio console to large-scale orchestra instal- and tweak each channel with EQ, lations with up to 60 PMCs. panning, Stereo Width control and The dbx Personal Monitor Con- effects including a choice of built-in troller uses a BLU link audio bus Lexicon reverbs. Performers can con- from either the dbx TR1616 or any trol their mix on the fly in real time BSS London system to control 16 and save up to 16 user-preset mixes. channels of digital audio (expand- The PMC works with traditional on- able up to 256). Its clean, uncluttered stage monitor systems, powered per- control layout, bright LCD screen sonal monitors, in-ear monitors, and and Wizard set-up and configuration headphones. utility make the PMC’s set-up time Multiple PMCs can be used in an incredibly fast. All inputs and outputs audio system, and each user can have are provided, and its integrated mic a unique mix. The PMC is ideal for stand mount facilitates placement on everything from house of worship sys- stage.

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 22 Serving the 133rd AES Convention edition vip

Take A Mojave Audio Helps Capture Tutorial A ‘Carolina Moonrise’ New tutorials will enlighten attendees at the AES Convention, according to Grammy winning singer-songwriter Jim and MA-300 models. He discussed his use Convention co-chair Valerie Tyler. Lauderdale, equally at home in country of these microphones. “Our Tutorial Program is particularly and bluegrass, counts producer/engineer/ “Carolina Moonrise was recorded attuned to that goal. Co-Chairs Vene musician Randy Kohrs among those at my personal studio, known as Slack Garcia and Mike Wells have devoted as being key to his success on stage and Key Studio, right here in Nashville,” extensive time and energy to developing off. Kohrs, an acclaimed solo artist in Kohrs reports. “For the most part, a diverse and vigorous program. Their his own right, was behind the board for the sessions took place during Decem- work is bound to have a lasting impact Lauderdale’s anxiously awaited new ber 2011 and, during that time, I used on attendee careers.” album, Carolina Moonrise, much of the Mojave mics in a variety of ways. Some of the tutorials scheduled which was captured using a variety of I found the MA-100—with its inter- include Social Media For Engineers and microphones from Burbank, CA-based changeable cardioid and omnidirectional Randy Kohrs Producers; Small Room Acoustics; Large Mojave Audio (Booth 1213). capsules—a great choice as the top mic Room Acoustics; Sound System Intel- Kohrs has served as producer/engi- on the upright bass and as the bottom vocals that my wife, Ashley, and I per- ligibility; Mastering for Vinyl - Today’s neer/mixer on Lauderdale’s Could We Get mic on the mandolin. I also consider the formed,” he said. “Mojave mics have a Challenges; Binaural Auditory Models; Any Closer, Reason & Rhyme and The MA-200 invaluable when positioned on nice output level, so the preamps get a Noise on the Brain Part II – Higher Fidel- Bluegrass Diaries, which won a Grammy the tailpiece side of the banjo.” very consistent signal. My wife’s voice Award for Best Bluegrass Album in 2007. For vocal work, Kohrs says he’s tends to be very sibilant. After trying Further, he played and sang harmony had considerable success with Mojave several vocal mics and having to make on these projects. For his studio work, Audio’s MA-201fet condenser micro- the best of it, I discovered the MA-201 he’s become a big fan of Mojave Audio phone and the MA-300 multi-pattern kept the openness of her vocal while microphones and regularly uses the com- vacuum tube condenser microphone. “I suppressing the sibilant factor that I pany’s MA-201fet, MA-200, MA-100, used the MA-201fet to record harmony used to struggle with in post.” Gefen Spotlights New KVM Extenders

Vene Garcia Gefen’s (Booth 819) next genera- two Ethernet connections for addition- tion KVM (Keyboard, Video, Mouse) al senders, receivers or Ethernet-based ity; Getting the Sound Out Of (And Into) extenders are ideal for post-production equipment, and two USB connections Your Head - The Practical Acoustics of professionals using a LAN in the stu- for peripherals at the display side. Headsets; and An Overview of Audio dio. The HD KVM over IP, DVI KVM The HD KVM over IP delivers System Grounding And Interfacing over IP and VGA KVM over IP can all HDCP-compliant HDMI at 1080p full “Our game plan was to cover as be interchanged on the same network, HD resolutions with 3D pass-through, many significant issues as time would supporting HDMI, DVI and VGA com- Gefen’s HD KVM over IP S and R USB, audio, RS-232 and IR remote con- allow,” Vene Garcia remarked. “We puters and displays. All three extenders models trol. The DVI KVM over IP sends DVI also tried to balance the presentations support audio, video, USB, RS-232 and at 1920x1200 resolutions with USB, ste- with traditional and contemporary sub- IR connections. 660 feet (200m) of signal extension using reo audio, RS-232 and IR remote control. ject matter.” Mike Wells added, “We Each KVM extender supplies a a single CAT-5 cable: 330 feet (100m) The VGA KVM over IP extends VGA at believe this year’s Tutorials will genu- sender and receiver pair that connect on the sender side and 330 feet on the 1920x1200 resolutions with USB, stereo inely benefit attendees.” through the Ethernet, allowing up to receiver side. Each receiver supplies audio, RS-232 and IR remote control. Afterglow After-Party Returns To AES Vintage King (Booth 1111), Grammy P&E Wing (Booth 609), Gearslutz, Studio Tril- ogy and Focal Press (Booth 837) are announcing the triumphant return of Afterglow, the premier recording industry after-party taking place during the 2012 AES Convention. Come mix and min- gle with industry professionals at the event not to be missed. If you consider yourself a gearhead or have dreams of becoming one, this party is for you! Afterglow will be held on Sat- urday, October 27, at 6 p.m. at San Francisco’s Studio Trilogy, Revelers mingling at the Afterglow party, which the state-of-the-art recording stu- returns to AES this year on Oct. 27 at 6 p.m. dio conveniently located a few minutes away from the Moscone Center. The first 50 guests will receive a com- Vintage King director of partner marketing plimentary book from Focal Press and every- and PR. “The Grammy P&E Wing is joining in one will receive a sneak peak into the world of on the party for the first time, making this the recording industry gear with loads of invalu- must-attend event during AES.” able information straight from the experts. This event is 21+, open to the public and “This year is extra special for Afterglow,” free with RSVP. To obtain an invitation go to says Shevy Shovlin, Afterglow organizer and www.vintageking.com/afterglow. preview the AES DAILY october 26-29, 2012 moscone center san francisco, ca vip edition Serving the 133rd AES Convention 23

Mix One Opens In SF With RND 5088 Analog Board

Mix One, a new music mixing and the console. “What I really love about to be really transparent and open and recording venture located within the the 5088 is that it doesn’t have that airy sounding. The depth of field and historic Coast Recorders studio com- thick muddiness that for me some stereo imagery on the console is fantas- plex on Mission Street in San Fran- newer consoles have,” he said. “I guess tic, and I’m finding that I’m able to get cisco, has opened for business with some people might consider the 5088 to to a good point in a mix very quickly. I a 32-channel Rupert Neve Designs be colored in some way, and I guess it wasn’t sure what to expect of a modern (Booth 1131) 5088 analog mixing con- does have a kind of warmth and depth day Rupert Neve design after having The Rupert Neve Designs 5088 sole. The new 5088 desk provides criti- you’d expect from anything Rupert used his vintage ones for so long, and analog mixing console installed cal summing, routing and mixing func- Neve designed. But honestly, I find it I’ve got to say I’m very impressed.” at Mix One in San Francisco tionality in the newly refurbished Mix One control room, which is equipped with a wall-to-wall credenza outfit- ted with high-end analog microphone preamplifiers, equalizers and dynamics processors, as well as an array of reverb options, a 48 I/O Avid Pro Tools|HDX system and a pair of ATC SCM150ASL main monitors. The core of the audio equipment complement at Mix One has been relo- cated from a private mix studio owned and operated by Tom Richardson. Sean Beresford, well known for his long ten- ure as Third Eye Blind’s recording engineer, as well as his extensive work with Vanessa Carlton and numerous other artists, is chief engineer and in charge of day-to-day operations. Beresford, who had no previous experience with the 5088, has already found time to mix several projects on AES Adds Networked Audio Track A new Net- worked Audio Track will debut this year. Net- worked Audio presents a host of technological and operational advantages, and an equal num- Tim ber of workflow Shuttleworth issues and poten- tial quagmires. 133rd AES Conven- tion Co-Chair Jim McTigue reports that Networked Audio Track Chair, Tim Shuttleworth’s collaboration with the late Nathan Brock has produced a comprehensive program of workshops designed to ameliorate many of these concerns. “Before his untimely death this summer, Nathan Brock was an international leader in the field of networked audio,” McTigue said. “We mourn his loss, but his collaboration with Tim Shuttleworth will stand as an invaluable addition to the AES Convention.” Some of the Networked Audio Track Workshops will include: Audio Network Device Connec- tion And Control; The Unified AV Network; Interoperability Issues In Audio Transport Over IP Based Net- works; Audio Networks – Paradigm Shift For Broadcasters; Error-Tol- erant Audio Coding; and Open IP Protocols For Audio Networking. october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 24 Serving the 133rd AES Convention edition vip

Partnership Broadens Clear-Com DWZ Series Mics Lead Product Portfolio Clear-Com is expanding its partner- CAT cables. Each port can be used as Sony Showcase ship with Optocore and its new subsid- an independently routed analog line Sony’s full line of pro audio prod- iary, BroaMan. Two new models of the level audio input and output. ucts—ranging from portable audio BroaMan DiViNe V3R-FX-ICOM- The V3R-FX-ICOM-SDI comes with recorders to wireless and wired micro- SDI video and intercom signal trans- up to five SD/HD/3G-SDI coaxial video phone technology to headphones-is port interface will be shown at Booth inputs or outputs that are converted to on display at the Shoreview Distribu- 1218 along with other Optocore inter- and from single-mode DiViNe optical tion Booth, 811. com/audio interfaces. fiber links. The model V3R-FX-ICOM- Sony’s full line of professional The DiViNe V3R-FX-ICOM-SDI SDI-1-4 features one video input and wireless microphone systems includes intercom and video interface is ideal four video outputs while the V3R-FX- the new DWZ series, the second-gen- for any setup that requires distribu- ICOM-SDI-4-1 will be supplied with eration of the DWX Series, and the tion of multiple feeds of high-quality four video inputs and one video output. UWP Series of wireless microphones. Sony’s DWZ series professional audio, HD video, data and intercom. A video clock output module can be The DWZ Series—Sony’s newest wireless mic For intercom and audio, the V3R-FX- installed in either device. This Black Burst wireless microphone series—com- ICOM-SDI is equipped with (four) output is derived from a synchronized bines ease of use, superb RF transaudio professionals working with four-wire RJ45 ports. The ports are video source. The V3R-FX-ICOM-SDI mission reliability and high sound high-resolution digital audio record- duplicated with reversed wiring so that can also be equipped with a CWDM quality into four affordable and ing and playback equipment. a matrix or intercom key-panels can be module with auxiliary fiber ports to allow highly flexible packages. The 2.4 GHz Sony’s newest models include two connected to the unit using standard for connection of external fiber systems. DWZ series includes combinations of new studio headphones (MDR-7520 hand-held mics, bodypack transmit- and MDR-7510) and one in-ear system ters and rack-mount or compact size (MDR-7550). The new headphones are receivers, with the various compo- engineered to deliver strength, com- nents ideal for use by musicians, or fort and practicality to users in record- in classroom, corporate, house of- ing studio and live sound applications. worship or government applications. Designed to accurately monitor the The packages are distinguished wide dynamic range and extended fre- The BroaMan DiViNe V3R-FX-ICOM-SDI video and intercom signal by their sleek design and contempo- quencies delivered by modern digital transport interface rary look, highlighted by a yellow audio equipment, the new models in band on each of the products as a the series are precision-manufac- unique identifying feature. The DWZ tured using the highest grade materi- Series includes: DWZ-B30GB Digital als such as gold-plated Unimatch Wireless Package-Guitar Set, DWZ- 3.5mm/6.3mm adaptors, and perfectly B70HL Digital Wireless Package- meet the needs of users. Headset and Lavalier Set, DWZ- Rounding out Sony’s pro audio M50 Digital Wireless Package-Vocal line are digital hand-held field record- Set and DWZ-M70 Digital Wireless ers—the PCM-M10 models. Designed Package-Vocal/Speech Set. to faithfully capture live performanc- Sony’s professional headphones es and events, including the most sub- are designed to meet the monitoring tle of performance nuances, it can be needs of front-of-house (FOH) and used for high-quality recording in an studio engineers, musicians and other array of applications. Ressino’s Legs, DPA’s Mics Ready For ‘Test Drive’ DPA Microphones (Booth 629) and ResInno, designers of specially engineered piano legs, are teaming up at AES (to highlight DPA’s complete line of instrument microphones. ResInno’s Grand Rossa piano design will be on display at the DPA booth for attendees to not only marvel at the Ferrari-inspired red piano legs, but also to listen to the superb audio quality that they produce through the DPA and Resinno are teaming DPA d:vote 4099P instrument micro- up to allow AES attendees to phones and 4006, 4011 and 2000 ‘test drive’ a number of DPA Series Reference Standard micro- mics and to spotlight Reinno’s phones, which provide a clear, true Ferrari-inspired red piano legs, sound. which have been engineered to Designed by ResInno Originator improve the instrument’s tonal Justin Elliott, the legs on the Grand Rossa have been precisely engi- quality. neered to produce a distinguishable will be able to listen to each individu- improvement to the impressive instru- al microphone through various head- ment’s tonal quality. To emphasize phone listening stations connected to the enhanced audio abilities of the each microphone and set up through- grand piano, as well as those of DPA out the DPA booth. Microphones, the companies will DPA’s newly-updated d:vote 4099 affix DPA’s d:vote 4099, 4006, 4011 is ideal for live performance settings and 2000 Series microphones to all requiring high-quality, discreet mics areas of the piano at AES. Attendees that are effortless to change.

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 26 Serving the 133rd AES Convention edition vip

NUGEN Shows True-Peak Historical Events Track The Limiter, ISOSTEM Plug-In Test of Time At Booth 512, NUGEN Audio is West Coast arbiter of audio his- showcasing its new ISL inter-sample tory Bill Wray has prepared a far- True-Peak limiter and a new ISO- ranging Historical Program for the STEM software plug-in that offers 133rd AES Convention. “The lessons upmix and crossmix solutions. of the past remain integral compo- The NUGEN Audio ISL inter-sam- nents of pro audio’s on-going evolu- ple True-Peak limiter is designed for tion,” remarks Convention co-chair the control of peak levels in audio sig- Jim McTigue. “Bill Wray has always nals from mono through to 5.1. Unlike approached our Conventions with traditional approaches to limiting, ISL an eye towards relevance as well as offers a true brick-wall solution, mea- variety. While today’s digital tools suring inter-sample peaks and allowing NUGEN Audio’s ISL 5.1 True- are generations removed from their the user to define the true-peak limit Peak limiter analog antecedents, our goals for effi- of the audio output—rather than the ciency and clarity remain unchanged. more traditional threshold control at compatible with stereo, delivering a sur- This year’s Historical Program will Bill Wray which limiting begins to take effect. round stem that downmixes exactly to provide our attendees with an invalu- stration of the Artistic Uses of Sound Easy to use and totally transpar- the original stereo. able perspective on problem solving on Film (This event will be held at ent, ISL is based on the standardized NUGEN Audio will develop three and innovative thinking.” Dolby Laboratories’ Theater. A limit- true-peak algorithms of ITU-R B.S. versions of the plug-in, allowing audio 133rd AES Convention Historical ed number of $10 tickets will be avail- 1770 and related standards, and is suit- professionals to produce a mix in the Events include: able for registered convention attend- able for the control of audio for post- studio using a stereo mixing process, with The Evolution of Electrical ees at the tours counter). Also, though production and broadcast applications. the software automating the conversion Recording At RCA Victor Studios not a Historical Program event, Mas- Additionally, true-peak limiting can be to 5.1. An upmix plugin will provide pure 1925-1953; Lee de Forest: The Man tering Engineer Scott Hull’s presenta- used to ensure that downstream codecs upmix with flexible settings while the Who Turned Science into Art; The tion on Mastering For Vinyl—Today’s such as mp3 and AAC do not intro- crossmix plugin provides upmix as well Replay of Historical Magnetic Tape— Challenges, is recommended by Wray. duce distortion into the signal. as downmix, and a third version will pro- More than Pressing the Play Button; He notes, “The growing resurgence of NUGEN Audio has collaborat- vide the extended functionality available Old Fables About Magnetic Record- vinyl makes this previously historical ed with signal processing equipment in the ISOSTEM expert model. ing Theory; The Egg Show: A Demon- subject surprisingly relevant.” manufacturer DSPECIALISTS on the development of a software plug- in offering market-leading upmixing/ downmixing between stereo and 5.1 All Kinds Of Solutions At TC Electronic surround. The plug-in will use the patented ISOSTEM technology, believed As always, TC Electronic (Booth 1019) ness data, including history, in a single, to be the only upmix engine that is fully will be at the annual AES convention recognizable view. The Radar Meter in the U.S., displaying the latest solu- is available on several different plat- tions for measuring and correcting forms such as System 6000 MKII, DB4 Lynx loudness in post, production, mastering MKII/DB8 MKII and LM2, as well as and broadcast. in the form of native plug-ins support- For the first time, AES visitors will ing AAX, RTAS, Audio Suite, AU and Updates be able to experience “Live Aid” pro- VST formats. cessing for System 6000 MKII. The All of TC’s loudness solutions Live Aid license includes the ALC6 reflect the latest standards, even the Aurora algorithm that introduces no less than recently updated ITU-R BS.1770- five innovative industry-first features. TC Electronic’s ALC6 algorithm, 3. Loudness-related products have Firmware Without sacrificing audio quality, even included with the Live Aid already been updated to comply with Lynx Studio Technology (Booth OB and Live production may now license, introduces no less than this brand new incarnation of the 615) is issuing a revised version of comply with the latest international BS.1770 loudness standard, including five industry-first features the LT-HD firmware for its Aurora standards on loudness and true-peak System 6000 MKII, DB4, DB8, DB4 converters. The LT-HD Version 10 level. Live Aid also holds the DMix In conjunction with TC’s acclaimed MKII, DB8 MKII, DB2, LM2 and the firmware update allows the Auro- algorithm that is able to downmix, Radar Loudness Meter, “Live Aid” plug-ins LM6 and LM2. ra 16 and Aurora 8 to emulate the loudness process, headphone optimize forms the ultimate package for any To provide a full loudness technol- interface characteristics of the Avid and true-peak limit any mono, stereo production, post or mastering facility ogy, research, legislation, standardiza- HD I/O converter, allowing seam- or 5.1 source; precisely conditioning a delivering content for film or broad- tion, application, event and product less operation with the latest Pro program for Mobile TV, iPod or IPTV. cast. In short, the Radar Loudness overview, TC has recently launched a Tools offerings from Avid. Lynx Perfect 5.1 audio and a Mobile feed Display provides the user with coher- dedicated Loudness section on its web- has also announced a limited time directly off the OB truck. ent information of all relevant loud- site: tcelectronic.com/loudness. offer for buyers to get the LT-HD card with updated LT-HD firmware for free when purchased with a new Aurora converter. Widener University Football Takes “Avid made several improvements with the HDX card and Pro Tools 10. The new LT-HD firmware Pride In Community update allows current and new Auro- ra owners to get the most out of their The Widener University Pride football championship standards. Plagued by the home team’s bleachers from atop Pro Tools HDX or Native equipped team has plenty to be proud of: two long-standing coverage and sound the press box. The visitor seating and studio. Emulation of the HD I/O NCAA Division III National Champi- quality issues, the school’s Athletic the playing field are covered by a pair delay allows lower latency monitor- onships, reaching the semi-finals three Director Jack Shafer called on Wid- of R2-52Z long-throw loudspeakers, ing and the ability to use Lynx and more times, and winning more MAC ener alumnus Art Kalemkarian, who also located on the press box roof. Avid hardware in the same system Championships than any other Mid- designed a new system based around The powerful R-Series loudspeakers with sample accuracy,” states Bob dle Atlantic Conference team. Community (Booth 1025) WET and serve an additional function, provid- Bauman, Lynx co-founder and chief Unfortunately, the aging audio sys- R-Series all-weather loudspeakers. ing extended low frequency punch for hardware engineer, who spearheaded tem at the University’s Leslie C. Quick The system includes six WET music playback. A single R.5-66Z cov- the LT-HD firmware project. Jr. Stadium was not up to the same Series W2-2W8 loudspeakers covering ers the stadium’s entrance area.

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 28 Serving the 133rd AES Convention edition vip

Legendary ‘Wrecking Crew’ Docu Highlights AES Special Events

With more Gold and Platinum cred- hit records for superstars ranging artists is now the subject of rarely its than The Beatles, The Rolling from The Beach Boys to Sinatra, Jan shown documentary that AES Conven- Stones, Elvis and Elton combined, & Dean, The Mamas & The Papas, tion Special Events chair Christopher “The Wrecking Crew” is the most sto- Simon & Garfunkel, The Byrds and Smith has scheduled for a screening at ried, yet anonymous group in record- “The King” himself. This mythic amal- the 133rd AES Convention. ing history—session players behind gam of gifted but behind-the-scenes “Although gargantuan music licens- ing fees temporarily preclude wide distribution for ‘The Wrecking Crew,’ numerous international Film Festival screenings have created a compelling ‘must-see’ buzz for it,” explains AES Convention Committee co-chair Jim McTigue. “We are extremely fortunate to have arranged a special screening for our 133rd Convention Attendees. In fact, we may want to add a word to our ‘Listen... Learn... Connect...’ AES mandate. I suggest ‘Enjoy...’” Produced and directed by Denny Tedesco, son of legendary, late Wreck- ing Crew guitarist Tommy Tedesco, the film features interviews with Brian Wil- son, Cher, Roger McGuinn, and many Wrecking Crew members, including Glen Campbell, who rose from the session player ranks to become a bonafide superstar as a solo artist. Tedesco will hold a Q&A (with special guests) following the screening. Also highlighting the 133rd AES Convention Special Events Program is the traditional Graham Blyth organ concert, this year to be held on Friday, Oct. 29, from 8-9 p.m. at the 160-year- old St. Marks Church. Royer Features SF-2 Mic Royer Labs (Booth 1214) is spot- lighting the SF-2 active ribbon microphone. Designed as a premium instrument for use in classical performance applications or to capture acoustic instruments, the SF-2 is a phantom powered version of the company’s original SF-1 ribbon microphone and combines. Royer’s legendary audio performance attri- butes with their exclusive active electronics for ribbon microphones. The new Royer Labs SF-2 has an output level of -38 dB-putting its sensitivity on par with that of phantom powered condenser microphones. This enables the microphone to be used with a wide variety of mic preamplifiers, regardless of gain characteristics. The SF-2’s unique electronics and custom designed FET’s deliver ultra-quiet operation; with self-noise of lower than 18 dB.

Royer Labs’ SF-2 active ribbon microphone

october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 30 Serving the 133rd AES Convention edition vip

Prism Sound Readies 25th RTW Spotlights New Birthday Surprises For AES TouchMonitor TM3-3G

As Prism Sound (Booth722) celebrates RTW is showcasing the TouchMonitor its 25th anniversary, AES Convention TM3-3G, the newest version of its suc- 2012 visitors are promised not one but cessful TM3 unit, at Booth 1144. The two totally new recording products new TouchMonitor TM3-3G seam- from the company—products so sensa- lessly allows the TM3’s current hard- tional and innovative that Prism Sound ware and software design to visualize, can hardly bear to keep them under convert and replay 3G SDI signals in wraps until the show. TV and video production and post-pro- But wrapped they must stay—for duction applications, offering a feature now. Those curious to know more will In addition to launching a new set unrivalled in its class. have to visit the company’s booth (722) limited edition series of its The TouchMonitor TM3-3G is a during the show. Orpheus FireWire multi-track compact yet versatile solution for meter- RTW’s TouchMonitor TM3-3G However, to mark this auspicious audio interface, Prism Sound is ing, de-embedding and monitoring 3G anniversary Prism Sound is launching promising to unveil two new SDI audio. It features a 4.3-inch touch A/85 and ARIB. It also features the a limited edition series of Orpheus, the recording products at AES, one screen for horizontal as well as verti- Magic LRA mode, specifically designed company’s award-winning FireWire of which is shown under wraps cal orientation that can display any of by RTW, for intuitive visualization of multi-track audio interface for personal the eight audio channels contained in the loudness range and integrated-loud- above. recording and sound production. a 3G SDI stream. For that purpose, ness parameters. Destined to become collectors’ “We anticipate huge demand for it includes a large number of graphi- If equipped with the corresponding items, only 25 of these limited edition the limited edition Orpheus as they are cal and numerical instruments depicting software license option, the integrat- units will be offered for sale and each very special and will be available on a single-channel and summing loudness ed de-embedder also outputs up to 16 one will be numbered. Every Orpheus first come, first served basis,” says Gra- bar graphs, PPM, true peak, SPL, loud- audio channels from the 3G SDI signal in the series features a stunning black ham Boswell, Prism Sound’s sales and ness range (LRA), dialnorm and cor- on eight AES3 two-channel ports. The chassis and blue LED panel, and marketing director. “To make them relation. The TM3 offers comprehensive output signals are independent from proudly carries the signature of its cre- even more unique, we promise that Ian loudness metering in compliance with all the visualized audio. In addition, the ator, Prism Sound’s technical director Dennis will personally fine tune and globally relevant standards, including TM3-3G can be upgraded with a built- Ian Dennis. polish every one!” EBU R128, ITU BS.1770-2/1771, ATSC in monitoring-controller license.

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Studio Furnishings Senior Manager, Portable PA Marketing Northridge, CA JBL Professional has an immediate opening for a Senior Marketing Manager to lead product development and marketing efforts for the Portable PA segment of its business. The successful candidate will have a Bachelor’s degree and at least 5 years experience in marketing, marketing communications and product development. MBA or other advanced training desirable. Previous experience in the Pro Audio and MI business is required. The position is based in Northridge, California with occasional travel required. The candidate should be highly motivated, passionate, and driven to excel. For consideration please apply at www.harman.com/Careers To advertise in the ELECTRONICS DESIGN ENGINEER classified section of Small Electronics Company seeks Full Time Engineer to assist with pcb design and layout, Pro Sound News metalwork/chassis/front panel design and modification of existing products or circuits. Must For the latest industry have experience with creating/editing pcb files in PCAD 2002 (preferred) and drawings Contact Doug Ausejo in Autocad, and must be able to read schematics and block diagrams and troubleshoot news, visit us online at electronic assemblies to component level. (650) 238-0298 or [email protected] prosoundnetwork.com Send resume or request for further information to: [email protected] preview the AES DAILY october 26-29, 2012 moscone center san francisco, ca vip edition Serving the 133rd AES Convention 31

Radial Intros Powerhouse Where Junior Sanchez 10-Channel Power Rack Lives, It’s Dangerous

Junior Sanchez, who started making to have with a 2-Bus, the experience records when he was in high school, of mixing on an analog console- has evolved from using major stu- without having a giant console in dios and large format consoles in their room.” Sanchez says he plans to New York and LA to designing and add a second 2-Bus LT for 32-chan- building his own high-end studio in nels of summing. his New York area house. To get Deciding to put together his own back to the sound he had mixing on studio, Sanchez reminisces, “Before Radial Engineering’s Powerhouse 10-slot power rack analog consoles Sanchez has cho- I understood about the impor- sen Dangerous Music (Booth 837) tance of monitoring, I would moni- Radial Engineering Ltd (Booth 546) is patch bay mult. Instead of having to gear for mixing and monitoring. “I tor through whatever console I was launching Powerhouse, a 10-slot power patch one module into the next using have the Monitor ST, the DAC ST using. So when I decided to build rack for the 500 series format. Power- a cable, an innovative FEED function and the 2-Bus LT. It’s changed the a room in my house--trying to put house expands Radial’s rack options to does the patching with a simple slide whole platform of how I hear, it’s together a setup where I can be cre- five different models. of a switch. And instead of having to awesome,” says Sanchez. “I live my ative: wake up, go downstairs, write- The Powerhouse begins with heavy- solder stereo pairs, a LINK switch is life Dangerously.” -the first system that came up when duty 14-gauge steel construction easily activated when stereo modules Relating the sound Sanchez gets I was talking to friends about it was throughout for improved shielding are needed. Following the WHOS- from the 2-Bus analog summing amp Dangerous Music. against noise induced magnetic fields Doc open source document, the to his early years with consoles, he “When I decided to build my room and greater durability when traveling Powerhouse is equipped with Omni- explains, “The 2-Bus offers every per- in my house I called my friend Vic- between studios or when on tour. Each port quarter-inch TRS that accom- son that’s ever wondered or dreamt tor Rios, and he suggested a couple channel slot is equipped with separate modates special functions on Radial about working on a large format different summing devices and mon- XLR i/o along with parallel quarter- 500 series modules as well as several console that advantage of actually itoring sections, including Danger- inch TRS connectors for splitting the others made by other manufacturers having that sound, that headroom, ous Music. I decided to look into signal, cross patching, or acting as a of 500 series who have adopted the that sonic mass. For me when I first it so I did my research, talked to a Radial design standard. For instance, mixed through the Dangerous 2-Bus, couple different people, and I went on Radial modules the Omniport may it was like a sigh of relief, ‘Finally! I online. The rest is history. I’ve been be an instrument input on a preamp, can push my productions to another using the Dangerous Music gear for a key input on a compressor or even level.’ That’s what the user is going over three years now.” Chris Stone a remote switch. Powering concerns are addressed Receives with a 1600 milliamp external supply. This delivers a shared pool for each NewsFrom A-Designs module for significantly more headroom SPARS Legacy than others. The extra power eliminates A-Designs Audio (Booth 1104) is re-releasing its JM-3001 Mic Preamp/EQ/D.I. brownouts while the external design under a new name, Ventura, nodding to the classic Quad Eight console after Award keeps the noise out of the box. Each slot which the unit’s three-band parametric EQ is inspired. In addition to its new Industry pioneer, recording icon and is equipped with safety measures for safe moniker, the A-Designs Ventura features a cream-colored faceplate with black founder of the legendary Record Plant use and the Powerhouse is 100 percent nomenclature for improved visibility in low-light environments. Studios Christopher Stone is the recipi- backward compatible. ent of the 2012 SPARS Legacy Award as presented by the SPARS Board of Directors. The award will be formally given to Stone at the joint SPARS/AES Student Party to be held at historic Coast Recorders, San Francisco, on October 27 as part of SPARS 133rd AES Convention activities. Following the award ceremonies, Stone will deliver a keynote address to the students and others present. Many of the 26 industry mentors who are par- ticipating in the expanded Ask SPARS Mentoring Session held earlier in the day, will be present to answer questions and network with attendees.

Christopher Stone october 26-29, 2012 moscone center san francisco, ca the AES DAILY preview 32 Serving the 133rd AES Convention edition vip

Telefunken Intros M81 Bring On The Broadcast/ Reggae Microphone Streaming Program AES broadcast/streaming chair David Telefunken T Elek- Bialik has announced his sessions troakustik is at Booth schedule for the 133rd AES Conven- 1224 introducing its new tion. “Our goal is to provide meaning- M81 Reggae version of its ful information in the most accessible popular universal dynam- format,” Bialik reported. “We make ic cardioid microphone. a special effort to develop mini-tracks The M81 Reggae, featur- focused on topic-related issues. For ing a three-color red, yel- example, attendees will find groupings low and green paint fin- of events on ‘Troubleshooting,’ and ish and a Lion of Judah Telefunken’s M81 Reggae universal ‘Audio for TV, Radio, & Streaming,’ graphic is a tribute to the dynamic cardioid microphone which are virtually crash courses on internationally known these issues. And, we stress the point reggae artist Toots Hib- that these events are discussions of berts of Toots & The Maytals. rack toms. technologies and techniques, not sales Frederick “Toots” Hibbert is widely Over the past few years the perfor- presentations. The AES Convention recognized as the man who coined mance of Telefunken’s M80 has been continues to serve as an essential des- the word “reggae.” likened to that of a condenser micro- tination for the serious audio profes- In comparison to the M80, the phone and has become a staple for sional.” David Bialik M81 retains the same minimal vocal and snare drum applications, Broadcast and Streaming Media proximity effect, superior feedback especially in the world of touring and sessions will include: What Happens Distribution-IP in the Mobile Envi- rejection, and articulate mid-range, live performance. As an alternative to Your Production When Played ronment; Audio for Mobile Televi- however, the top end is pulled back to the extended top end capabilities Back on Diverse Media?; Loud- sion; Broadcast Audio Networking a bit, yielding a flatter overall fre- of the Telefunken M80, the M81 is a ness and Metadata (Living with the Techniques; Sound Design: How quency response, making it ideal tool that is a bit less specialized, giv- CALM Act); Facility Design: A Does That ‘Thing’ Go Bump in the for lighter sounding voices, as well ing the microphone more universal User’s Evaluation of Integral Acous- Night?; Understanding Codecs; as electric guitar, percussion and application ability. tic Products and Materials; Stream The Streaming Experience; Audio Encoding for Streaming; Work- ing with HTML5; Audio Processing erie Tyler, “A Bay Area native with a Basics; Listener Fatigue; Lip Sync continued calendar from page 1 solid background in all things audio, Experiment; Troubleshooting Soft- Audio Plus, | 133rd AES Convention tech tours chair ware Issues; Maintenance, Repair This year’s workshop program is Jessica Livingston has proven herself and Troubleshooting; Poe: A Life in also laid out in “mini tracks,” in part an invaluable resource in ferreting out Sound Simaudio In focusing on the topics of digital and our town’s most interesting and ‘hap- 3-D cinema sound and-with the Decem- pening’ highlights.” Tours this year ber deadline for CALM Act compliance take in a video game creative campus, Distrib Pact looming large-loudness. For the first a top-flight school and San Francisco’s NewsFrom time, the workshop program includes latest live performance venue. multiple panel presentations on the There are almost 100 AES student For ‘Moon’ topic of height channels in multichan- sections worldwide and students com- Sonic Studio Simaudio Ltd., a Canadian audio nel surround sound, which will be held prise a significant percentage of total AES and video equipment manufacturer off-site at Pyramind, a post production membership. In addition to encourag- SoundBlade 2.0 users will be focused on home entertainment facility and school within easy walking ing student participation through design delighted with Sonic Studio for the past 30 years, has signed distance of the Moscone Center. and recording competitions, the AES also (Booth 1042) for unveiling its an exclusive worldwide distribu- Wherever the AES Convention is takes its educational role very seriously, new 2.0.2 software update for tion agreement for a new pro audio held, the locale presents diverse desti- and will host a variety of forums, mentor- SoundBlade 2.0 mastering sys- product under its “Moon” product nations for the technical tour program. ing sessions, career counseling and a job tems. Among the numerous fea- brand. Audio Plus Services (Booth According to convention co-chair Val- fair during the convention. ture enhancements included are 837), the distributor for Focal integration support for Apple’s Professional, Lauten Audio and suite of tools in conjunction with Vovox products in North Amer- this fall, to guide our readership to the its “Mastered for iTunes initia- continued ica, has been chosen as the sole pro gear from page 1 best choices in audio gear to enhance tive,” stability improvements and distributor. The first product in | their work, we’re thrilled to revisit the bug fixes. Many of the updates its new Pro Audio range will be is the continued appeal of premium- annual gathering of audio professionals in this software release have been announced at AES. Simaudio, priced, world-class pre-amplification, where attention is paid, in nearly equal suggested or have been a request- located in the greater Montreal compression and equalization prod- measure, to “stuff,” science and applica- ed user workflow adjustment to area, is well known for its high-end ucts, manufactured and sold by both tion. The AES Convention also gives us make SoundBlade not only the audiophile products, and this will large and boutique firms. the chance to crawl out of our increas- most transparent sounding, but be its first endeavor into the pro Yet in our increasingly mobile app- ingly isolated lairs and commune with also the most productive master- audio market. and plug-centric world, even the pro our audio brethren--living out AES’ apt ing system available. “We are very excited to be work- audio elites’ appetites are whetted by motto, “Listen...Learn...Connect.” ing with such a prestigious audio some hyperrealistic innovations: surpris- company and one located near us, ingly capable multitrack recorders for right here in Canada,” says Simon iOS; comparatively tiny, GUI-enhanced continued gone. This year’s live sound offerings from page 1 Côté, manager of Professional multichannel digital I/O; the proliferation aes ready | include “The Women of Professional Products at Audio Plus Services. of IEM and headphone-based “personal Concert Sound;” “Acoustics for Small “We also are looking forward to monitoring rigs;” and uncanny analog Live Sound Venues;” and “Planning having the exclusive worldwide textures via analog tape emulation, fla- Walden (Whitney Houston, Mariah a Live Sound Education—Should I distribution rights to the Moon vorful stereo bus compressors and guitar Carey); or the Platinum Mastering Study The Theory, or Practice The product range and feel that audio amp plug-ins, just to name a few. panel with Bob Ludwig, Eric Bou- Skills?” professionals around the world will Ironically, we’ve never had more langer and Robert Katz. So whatever your audio interest is, be very interested in the technical professional tools available at afford- Once upon a time, people thought you can be certain it’s being explored scope and sonic capabilities of the able prices, or less time to use these of the AES Convention as “a record- at this year’s AES Convention; miss new product.” tools. As the editorial staff and con- ing show,” but those days are long it at your own risk. tributors to Pro Audio Review attempt,