THE OFFICIAL Published by AES and Pro Sound News & Mix magazines • Day 3 Edition SHOW DAILY SERVING THE 143RD AES CONVENTION • OCTOBER 18-21, 2017 JACOB K. JAVITS CONVENTION CENTER, NEW YORK, NY

+AES MOBILE APP Download the 2017 mobile app for exhibitor listings, schedules and more.

The Star AES NY 2017: RF Spectrum Wars Project: Firing on All Cylinders Panel: ‘Scan Like Being in By Clive Young “We had a tremendous first Early and The 143rd AES Convention may day at AES NY 2017; our regis- a Galaxy Far, have passed the halfway point, tration team says it’s the largest Often’ but you’d swear it’s just getting first day of activity they’ve seen in started. If you’ve noticed that a decade,” said Bob Moses, AES By Steve Harvey Far Away the aisle of the exhibition floor Executive Director on the sec- The successful completion of the By Strother Bullins is jammed and the panel you ond morning of the Convention. FCC’s Incentive Auction earlier Yesterday morning, a packed spe- wanted to see was standing-room “That pattern is carrying over as this year set the countdown clock cial event-”Bearing Witness: The only, well, that attests to the con- we begin Day Two. The technical ticking for wireless mic operators, Music of Star Wars, Archiving vention’s popularity. It seems like sessions are packed with enthusi- who must vacate the 600 MHz Art and Technology”-featured there’s more people here than astic attendees, and we’ve also set band by July 2020. But as a panel Star Wars on page 36 usual, because there are. AES 2017 on page 38 RF Spectrum on page 38

+HE YSER LECTURE: +MAKING MUSIC AND MAKING +AES AGOTTVS on the | inside LESLIE ANN JONES MONEY? WHAT A CONCEPT! UPDATES PRELIM Page 3 Page 4 RECOMMENDATIONS Page 4 480MHz 490MHz 500MHz 510MHz 520MHz 530MHz 540MHz 550MHz

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AD3945EN_Axient_Digital_Product.indd 1 10/4/17 11:51 AM DAY 3 EDITION | THE AES DAILY 3 Clive’s Live Picks In Heyser Lecture, Jones Counsels By Clive Young ‘Paying Attention’ The AES Convention has passed the half- way mark, but when it comes to live sound, By Steve Harvey related, including being kicked that means it’s been saving the best for last. Leslie Ann Jones, a recording off a session (Barry White’s, There are still tons of PA demos going on in and mixing engineer for over after his wife discovered there the demo rooms, consoles to check out on 35 years and currently director was a woman in the control the exhibition floor and educational oppor- of music recording and scoring room), erasing a take and her tunities to take advantage of, so go check with Skywalker Sound, nearly first engineering credit, on a ‘em out. turned down the invitation to John Mayall album. speak at this year’s Richard She later relocated to work LIVE SOUND EXPO C. Heyser Memorial Lecture. at Automatt Studios in San At the top of your To-Do list should be “I haven’t written any great Francisco, where she spent Leslie Ann Jones a visit (or visits) to the Live Sound Expo on papers; haven’t invented any many years before returning to Stage 1 inside the exhibition floor. Hosting technology; heck, I haven’t even Hollywood and a gig at Capitol workshops all Friday, it’s aimed at both new had a top 10 record,” she said. Studios. There, she won her first Grammy, for and veteran sound pros looking to expand But Jones reconsidered, and she had plenty her work on the soundtrack album of George their knowledge or get a quick brush-up as it to talk about. “If there’s one theme for all my Clooney’s Good Night, and Good Luck. She covers topics like Choosing the Right Vocal work and all I might have done to stand here, it subsequently moved back to the Bay Area to Mic, Noise Prediction for Outdoor Events, would be paying attention,” she said. work at Skywalker, running the studios and Digital Versus Analog Wireless on the Stage, Jones observed that she got into the busi- winning three more Grammy Awards. Point Source Optimization and more. ness the old-fashioned way: “I was born into Skywalker is a magical place, she said. it.” Her father was bandleader and music sati- “Everybody is so good at their craft it makes us SOUND REINFORCEMENT TRACK rist ; her mother was singer Helen all want to do better. We’re there to help you Held almost entirely in room 1E09, the Grayco. make the best recording possible.” remaining Sound Reinforcement Track “My mother had such style. She had the offerings on Friday and Saturday are a veri- ability to sing the same song night after night table How-To of crucial topics, ranging and make it a memorable performance. That Upcoming Events from Dressing for Theater and was my first recollection of paying attention.” Sound System Design for Public Address Initially attempting a career as a musician, AES@NAMM & Intelligibility to Live Sound Subwoofer Jones later had an opportunity to take up engi- Pro Sound Symposium: Live & Studio System Design and a primer on the proper neering. She co-founded a PA company, set Anaheim, CA approaches to AC Power, Grounding and up a recording studio in her basement then, January 25-28, 2018 Shielding. in 1975, was hired as a production engineer at ABC Studios in Hollywood. It was there she 145TH AES CONVENTION A COOKBOOK APPROACH TO SYSTEM began to pay attention to gender, she said, New York, NY OPTIMIZATION which would have both positive and negative Co-locating with NAB There’s no such thing as a free lunch… consequences in her career. October 17-20, 2018 unless you have the good sense to check out Jones had many personal firsts at ABC, she veteran live sound educator Bob McCar- thy’s Lunchtime Keynote Friday at 12:30 p.m. in 1E15/16, where he’ll cover system AES EDUCATIONAL FOUNDATION optimization, sharing the recipes for speak- ANNOUNCES MARY LEA SIMPSON er aiming, crossover combination, splay MEMORIAL SCHOLARSHIP The AES angle setting, front fill spacing and more. Educational Foundation has announced the Mary Lea Simpson Memorial Scholarship, its first undergraduate scholarship for a student entering senior year in a North Correction American college or university audio The story announcing Yamaha’s demos of the new engineering/recording arts program. NEXO GEO M10 SR System contained an inaccurate Endowed by Mary Lea Simpson’s family— spec. The M10 enclosure has been named such father and mother Dr. Zachary W Simpson for its single 10-inch neodymium LF driver, paired and Starr Simpson and brother George with a 1.4-inch HF titanium diaphragm HF driver, B Simpson—the scholarship will be erroneously reported as a quarter-inch HF titanium diaphragm HF driver in yesterday’s Daily. administered by the Audio Engineering Society Educational Foundation. 4 THE AES DAILY | DAY 3 EDITION ShowNews Making Music and Making Money? What a Concept!

By Strother Bullins business and art form alive. To tion model, bringing up front Thursday afternoon, in an important Spe- elaborate on the lack of funding, costs down and keeping it open cial Event, “Producing Across Generations: I see this hurting artist develop- ended in regard to updates and New Challenges, New Solutions,” a panel ment, incubation, etc., on the modifications.” led by New York University’s Nick Sansano, artistic side, and the inability to It’s arguable that producing Director of Production Studies/Co-Director provide for sustainable wages music today has been “democ- of Musicianship, and featuring audio pros on the business side. Combined, ratized,” or the investment (including George Massenburg), addressed they result in many projects, art- necessary for entry into music the elephant in the room—or, as the AES ists, songs, recording sessions production has largely eradi- explained it in event promotional materials, and mixes never reaching their Nick Sansano cated—especially for pop music “...music professionals continued to make full potential. production. How does this cre- records for a living. How are they doing it? “I think pop music has been hurt the most ate new or different challenges in succeeding How are they getting paid? ... How can we because it has lost the most commercial value as a traditional music engineer? expect to see any income from streaming roy- when compared to, say, film, video games, “With internet access, everything has been alties when artists aren’t even getting any?” TV, multimedia works, theater, etc.,” added democratized,” Sansano. said “Literally any- So, what has changed in the industry that Sansano. “Having said that, programmatic or one can record a song and then release that requires new approaches to finding work? supportive forms of music—that for games, song to a global audience at the touch of a “Lack of funding is at the top of the list on film and TV, theater, to name a few—has button-no gate keeper. Of course, no gate- the negative side, and advances in produc- not been as negatively impacted as pop music keeper means no standards of quality, artistic tion/recording technology leads the positives,” production. The positive aspects of techno- merit, commercial merit or order. There is a offered Sansano in a pre-event interview for logical change have affected all media. We great deal of ambient noise out there in the the AES Daily. “In fact, without the tech have infinitely stronger and more affordable democratic ether of the web, but few intelli- advancing and, in turn, driving down costs, software and hardware available. Music has gible voices. Therefore the challenge comes in we might have been dead in the water. The DAWs and photography has Adobe products, the way of marketing, branding, identity, and DIY aesthetic has kept the song production etc., many of which are now on a subscrip- all that supports the ‘why me’ narrative.”

AES AGOTTVS Group Updates Prelim Recommendations The Audio Engineering Society’s Audio Guide- vention (published as a Technical Document tain how metadata might be leveraged to more lines for Over-the-Top Television and Video by the AES Technical Council). The recom- appropriately tailor content to devices and dif- Streaming (AGOTTVS) technical group has mendations addressed the fundamental issues ferent listening scenarios. released an update to its preliminary recom- of audio loudness in on-line television and The AGOTTVS group comprises volunteer mendations published in October 2016. The video content delivery, from creation through members with expertise and/or interest in the guidelines are focused on managing the loud- distribution to the consumer experience. creation, distribution and emission of profes- ness and loudness range of program and inter- With the release of the “Preliminary Loud- sional audio. AGOTTVS membership is open stitial content distributed over-the-top (OTT) ness Guidelines” in 2016 the AGOTTVS to all stakeholders with a material interest and by online video distributors (OVD) to group raised awareness of more forthcoming, in its work, regardless of AES membership maintain and improve the sonic integrity and comprehensive and ongoing work and invited status. Group participants include representa- listening experience across multiple devices. all interested parties to join the effort. The tives of Amazon, Apple, BBC, CBS, Dolby, The AGOTTVS technical group was group subsequently increased in membership DTS, DTV Audio Group, Fox, Fraunhofer, formed in early 2016 to study the many issues and continued its work, drafting the enhanced Google, NBC Universal, Netflix, NHK, PBS, related to audio loudness variations in distrib- OTT and OVD “Loudness Guidelines” that Starz and Qualcomm. uted video content. The 50-member group, are documented in this October 2017 release. The 2017 AGOTTVS guideline docu- a study group of the AES Technical Council The group intends to continue to update its ment, also published as a Technical Docu- Technical Committees TC-BOD (Broadcast recommendations considering the transitional ment by the AES Technical Council, can and Online Delivery), announced the publica- nature of media consumption. Future work be downloaded from the AES website at tion of its preliminary loudness guidelines in will likely involve objective and subjective http://www.aes.org/technical/documents/ October 2016 at the AES Con- tests of DRC and loudness profiles to ascer- AESTD1006_1_17_10.pdf Purity Transformed AT5047 Premier Studio Condenser Microphone

Building on the AT5040’s breathtaking purity of sound, the new AT5047 combines the four-part rectangular element of its predecessor with a transformer-coupled output to create a mic with exceptionally wide dynamic range and remarkable 50 Series versatility. This is purity transformed. audio-technica.com 6 THE AES DAILY | DAY 3 EDITION Avid Issues Upgraded EUCON Software BOOTH 503 Avid is introducing a new version of EUCON software. Powered by MediaCentral, the industry’s most open, tightly integrated, and efficient platform designed for media, the latest version of EUCON software delivers several new features and workflow enhancements, giv- ing musicians and professional mixers using Avid control surfaces and Pro Tools or third- party applications greater control and faster workflows. As an open software protocol, EUCON enables tight integration between Avid control One of Thursday’s more popular sessions brought together the METAlliance members to discuss “Where We’ve Been, surfaces and Pro Tools, Avid plug-ins, Avid Where We’re At, and Where We’re Going.” Established in 2005 by globally-recognized, award-winning audio engineers Alliance Partner plug-ins, and third-party digi- and producers Chuck Ainlay, Ed Cherney, Frank Filipetti, George Massenburg, Elliot Scheiner, Al Schmitt, and the late Phil Ramone, the METAlliance fosters relationships between producers, engineers and manufacturers in order to ensure the tal audio workstations (DAWs). It gives musi- highest standards of audio production. As announced at AES New York 2017, the METAlliance, in conjunction with Hal cians and professional mixers full hands-on Leonard, has begun publishing the collective knowledge amassed by these A-list producers and engineers under the control of a variety of EUCON-enabled Avid METAlliance Academy brand. The product line includes AV tutorial courses, print and ebooks, Power Learning Digital Print and third-party DAWs, delivering the tactile versions of these books, and in-person workshop events. Shown here during the Thursday morning session are Elliot control needed to create great sounding mixes Scheiner (left) and George Massenburg. faster, and the ability to switch between differ- ent DAW sessions in a matter of seconds. EUCON 3.7 delivers new integrated features and workflow enhancements between Pro Tools New I-Mon System at CB Electronics software and Pro Tools | S6, Pro Tools | S3, Pro BOOTH 214 CB Electronics is showcasing its new 7.1.4 immersive audio monitoring system, based Tools | Dock, Pro Tools | Control and Artist on its existing A-Mon monitoring system but with a number of inputs and outputs reassigned. Series. The combination of the I-Mon and TMC-1 forms a standalone Dolby Atmos-capable system Now until December 31, 2017, Industry users for the smaller studio. can save over 25 percent when purchasing Pro The I-Mon may be used with any format from stereo to 7.1.4.2. the I-Mon includes PFL, Tools | Dock and Artist Mix together. For more Talk back and Listen back. details visit http://www.avid.com/special-offers. Steve’s Broadcast/Streaming Picks By Steve Harvey who’s-who of broadcast audio professionals will McGill University—offering observations on Immersive sound mixer Tom Ammermann debate the convergence of streaming technolo- topics including different ways to approach a will discuss and illustrate the production phi- gy, social media and IP infrastructure; challeng- mix, how to improve an existing mix and how losophies, strategies and workflows behind es of loudness and DRC management in mobile to best interpret and address comments from two spatial audio Blu-ray releases in “Kraft- listening; and the wireless spectrum crunch in clients. Ample time is promised for audience werk and Booka Shade—The Challenge to Cre- the wake of the 600 MHz band auction. questions. ate Electro Pop Music in Immersive/3D Audio The latest installment of a popular panel, The Broadcast and Streaming Media track Formats Like Dolby Atmos” (Rm 1E06 [PMC “Music Mixing, Part 4” (Rm 1E12, 4:15 p.m.), offers a special event, “The Audio Crew of The Room], 3:15 p.m.). will feature award-winning expert practitio- Late Show with Stephen Colbert” (Rm 1E14, The DTV Audio Group’s AES Forum focus ners—Jim Anderson, Anderson Audio NY/ 5:00 p.m.), that presents “a day in the life” of will be “Television Audio in the Streaming Age: NYU; Michelle Desachy, Estudio19; George the unsung heroes working at The Ed Sullivan Mobile Takes the Forefront and the Spectrum Massenburg, McGill University; Ronald Prent, Theater to deliver one of late-night’s most- Crunch Arrives” (Rm 1E15/16, 3:15 p.m.). A Wisseloord Studios and chair Richard King, watched talk shows. “The Red 4Pre is the answer to my entire checklist”

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BOOTH 218 Among the featured products in the Bedrock Audio showcase: the SM50 Stipa Meter, which has become the industry standard for measuring the Speech Transmission Index. The Bedrock SM50 STIPA meter is the device that many have been waiting for: finally a STIPA meter that is accurate, reliable and affordable at the same time. Designed from scratch by the very team that invented STIPA, the SM50 was Bedrock Audio’s SM50 Stipa Meter responsible for the development of the Speech Transmission Index for the last few decades. tion procedures and other discomforts that The SM50, with its full-color touch screen, people have come to expect from STI measur- is easy to use and understand even to first-time ing tools. To the contrary: the SM50 is intuitive users of to the Speech Transmission Index. and almost plug-and-play. At the same time, The casual STI user will not have to deal with even seasoned STI experts will find every fea- impossible key combinations, complex calibra- ture they ever wanted.

Lectrosonics Launches Duet Digital Wireless Monitor System BOOTH 927 At AES 2017, Lectrosonics is show- inputs. The 24-bit digital audio stream guar- ing the Duet digital wireless monitor (IEM) antees high resolution sound quality with wide system. The new system consists of the M2T dynamic range, low noise floor, and rock-solid On Wednesday, October 18, 2017, the Empire State half-rack transmitter and M2R diversity belt stereo image. The Duet system is designed and Building was lit in honor of the Audio Engineering pack receiver, and uses digital modulation for developed with professional touring, installa- Society and its 143rd Convention. transmission and can accept analog or digital tion, theater, filmmaking and broadcast cus- tomers in mind. The M2T half-rack transmitter houses two ShowNews independent stereo transmitters allowing for up to four stereo or mono transmissions in a single rack space. The system includes a Flex List Friday/Saturday Technical Tours mode, where a number of names and frequen- cies can be stored in the receiver. This way, the FRIDAY, OCTOBER 20 sized theatrical mix stage in New York. Har- monitor engineer can quickly find and listen to 10 a.m.-1 p.m. (Off-Site) bor staff will be available to showcase the any of the performers’ mixes on the stage. The TT04: NYU AR/VR Lab. Washington Square facility and share their process and results for Duet is available now. Campus some recent projects. The Music Technology program at NYU Steinhardt will host a tour of its facilities. Visi- SATURDAY, OCTOBER 21 tors will experience music produced specifi- 9 a.m.-1 p.m. (Off-Site) cally for 3D listening environments, binaural TT06: Ambiphonics Institute research and demonstrations. Ambiophonics is loudspeaker-based binaural reproduction of two channel audio. Come to 2 p.m-4:30 p.m. (Off-Site) learn and experience audio in 2D, 3D, and TT05: Harbor Picture Company Studios VR in the latest Ambiophonic way. The Harbor Picture Company is a world-class Lunch is provided. Two-hour tour (with post production facility nestled in the SoHo transportation to the uptown Port Authority neighborhood of Manhattan. It’s audio pro- Terminal for any who want to stay longer). duction offerings include the only Hollywood- Two of the fanatics at Lectrosonics, Kelly Fair and Karl Winkler, with the new Duet Digital Wireless Monitor System

10 THE AES DAILY | DAY 3 EDITION Yamaha Updates V4.1 Neutrik Features XIRIUM PRO CL/QL Consoles Cable Replacement System BOOTH 624 Yamaha Professional Audio is introducing updates in BOOTH 529 Neutrik is showing its V4.1 for CL and QL Digital Audio Consoles and EQ presets for upgraded XIRIUM PRO Wireless Ultimate Ears in-ear monitors. Cable Replacement System. Foremost New Dante functionality includes support for the AES67 among XIRIUM PRO’s new features interoperability that allows communication with Ravenna, Q-LAN, is the Xirium App Version 3.0. This , and other audio networks for significantly improved sys- software offers an Advanced Mode that tem expandability. The Dante Device Lock feature that prevents provides additional control and settings unwanted changes to Dante settings is also supported. options. Version 3 also includes a new The number of supported Shure Wireless Receivers has also Temperature Monitor that displays the increased. Version 4.0 provided support for the ULXD4D and temperature—Low, Good, High—of ULXD4Q. Version 4.1 additionally supports non-Dante devices the base stations utilized in a XIRIUM including the AXT400, QLXD4, and ULXD4. Control and moni- PRO system. Neutrik’s XIRIUM PRO Cable Replacement toring are supported for all devices, plus transmitter gain control XIRIUM PRO’s antenna options System for the AXT400. have also been upgraded. There are In other news, in order to offer the best possible monitoring now two directional antenna options for use exclusively with XIRIUM PRO experience, Yamaha has teamed up with Ultimate Ears Pro to receivers. Secondly, the upgraded package also has provisions for a variety develop EQ presets that would deliver the full sonic potential of of remote mount antenna options. Yamaha consoles and Ultimate Ears Pro in-ear monitors so that Central to XIRIUM PRO’s robust performance attributes is Neutrik’s artists have the monitor detail and clarity they need to deliver a DiWA (Digital Wireless Audio), which provides compression-free, FCC superior performance. license-free, wireless transmission of audio within the 5 GHz band.

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12 THE AES DAILY | DAY 3 EDITION 50 Series Mics in Audio-Technica Spotlights

BOOTH 422 Audio-Technica is showcasing its AT5040, the pinnacle of the Models from Audio-Technica’s 50 Series flagship 50 Series line of studio company’s recent break- at AES New York 2017. The series currently throughs in sound-capture largest single diaphragm sur- consists of the recently introduced AT5047 technology. Four exqui- face area A-T ever manufac- Cardioid Condenser Microphone, which joined sitely matched ultra-thin dia- tured. Finally, every 50 Series the AT5045 Cardioid Condenser Instrument phragms function together microphone is hand assembled Microphone and the AT5040 Cardioid Con- (with outputs proprietarily and individually inspected for denser Microphone in the series. summed) as Audio-Technica’s 100 percent quality control. The 50 Series’ groundbreaking use of new largest-ever element, providing Each studio microphone is technology and attention to detail makes this combined surface area twice enclosed in an elegant housing high-quality series of microphones truly elite. that of a standard one-inch of aluminum and brass with For instance, A-T engineers developed a four- circular diaphragm. Addition- high-quality finish for durabil- part rectangular element for the AT5047 and ally, the AT5045 features the ity and low reflectivity. ShowNews Friday/Saturday Product Development Track Events FRIDAY, OCTOBER 20TH The days of designing every- processing needed by a device to properly 9 a.m.-10:30 a.m. (1E14) thing from scratch are gone. interface to a cloud based ASR engine. We PD06: Modern Hybrid Audio Coding Products are now too com- cover beamforming, echo cancellation, direc- Presenter: Jürgen Herre, International Audio plicated and development tion of arrival estimation, and noise reduction. Laboratories Erlangen - Erlangen, Germany; times are too short to go it We show how the algorithms must be designed Fraunhofer IIS - Erlangen, Germany alone. This session focuses to work in concert for far field voice pickup During the past one and a on recent advances in design and the difficult to achieve “barge in” feature. half decades, recent audio tools for audio product coding schemes have signifi- developers. Paul Beckmann cantly overcome traditional SATURDAY, OCTOBER 21ST limits for compression effi- 1:30 p.m.- 3 p.m. (1E14) 9 a.m.- 10:30 a.m. (1E14) ciency by adopting tech- PD08: Reusing and Prototyping to Accelerate PD10: Is the Anechoic Chamber Obsolete? niques for semi-parametric Innovation in Audio Signal Processing Presenter: Christian Bellmann, Klippel GmbH - (hybrid) coding of audio Presenter: Gabriele Bunkheila, MathWorks— Dresden, Germany signals. By doing so, full- Jürgen Herre Cambridge, UK Anechoic rooms have been bandwidth stereo reproduc- This session will focus on considered as an expen- tion can today be achieved even at very low different techniques to sive but optimum way for bitrates, such as 12kbit/s. The keys to this integrate existing code and assessing loudspeakers breakthrough achievement were two types IP into early simulations under free field conditions. of semi-parametric coding extensions: First, of algorithms and sys- This tutorial discusses the methods for bandwidth extension (BWE) tem designs, ranging from physical limitations of the allow full reproduced audio bandwidth even embeddable code to cloud- room and gives practical Christian Bellmann at low rates. Second, methods for parametric based services. You will advice how to avoid sys- stereo (or multichannel) coding enable good also be exposed to quick Gabriele Bunkheila tematic measurement errors. In the second reproduction of spatial sound under similar prototyping workflows, part alternative techniques are discussed that circumstances. The workshop will present the including methods for running in real-time allow to provide measurement results under current state of development in these active and validating ideas on live real-world signals. simulated free field conditions. areas, describe relevant technology and illus- trate its performance by sound examples. 3:15 p.m.-4:45 p.m. (1E14) 10:45 a.m.-12:15 p.m. (1E14) PD09: Front End Audio Processing for Voice PD11: 3D FIR-Based Beam Shaping—Revolu- 10:45 a.m.-12:15 p.m. (1E14) Enabled Products tion or Evolution PD07: Agile Audio Product Development PPaul Beckmann, DSP Concepts, Inc.—Santa Presenter: Stefan Fiestal Presenter: Paul Beckmann, DSP Concepts, Clara, CA This session discusses backgrounds and trends Inc.—Santa Clara, CA This session focuses on the front end audio of FIR-based coverage optimization. see. hear. achieve

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T 949-861-3350 E [email protected] www.pmc-speakers.com/result6 14 THE AES DAILY | DAY 3 EDITION Waves Offers Brauer Motion Calrec Features Summa Plug-In Audio Console BOOTH 640 Waves Audio is exhibiting its Brauer Motion plug-in. This cir- BOOTH 631 Calrec Audio is showcas- cular stereo auto-panner designed with GRAMMY winning mix engi- ing its new Summa Audio Console at neer Michael Brauer () allows users to create an unprecedented AES New York. world of movement inside their mixes. The elegant Summa Brauer Motion takes Michael’s mastery of the sound spectrum and console is designed for lets users control the movement of sounds unlike anything else in their broadcast professionals toolkit. It works especially well on who need to produce creative rhythmic tracks such as percussion and engrossing broadcast audio easily, but Calrec’s Summa Audio Console and acoustic guitar; on swelling pads may not require as many resources as Calrec’s and organs; or whenever a mixer larger consoles. Control is via a 17-inch multi-touch screen inspired by wants to pull the listener in with sub- familiar tablet technology, with a straightforward interface that allows tle or drastic panning movement. use of established finger gestures to navigate the system. This super-creative plug-in comes Summa’s considered control simplifies even complex workflow with four different panning modes to tasks, such as creating mix-minus feeds. Bluefin2 technology gives direct the motion of the sound; four Summa a pool of 180 or 128 channel processing paths, eight groups, different trigger modes for a variety four mains, 16 auxes, and 32 tracks. of on/off options; two panners with In addition to demoing products at AES New York, Calrec is par- full control; a dynamics section; pre- ticipating in the Broadcast Audio Expo sessions. The sessions will cover The user interface for Waves’ Brauer delay, motion filter, and precise con- audio applications for radio and TV studios, outside broadcasts and Motion plug-in trol over the speed, width and depth. streaming broadcast over portable devices. DAY 3 EDITION | THE AES DAILY 15 ShowNews Broadcast & Streaming Events FRIDAY, OCTOBER 20 10:45 a.m.-12:15 p.m. (1E08) B09: Advances in Microphone Cable Technology Presenter: Steve Lampen, Belden—San Francisco, CA This presentation outlines two new analog microphone cables from Belden.

1:30 p.m.-3 p.m. B10 - Podcast Production Moderator: Rob Byers, NPR - Washington, D.C. Learn about their creative techniques, tech- nical workflows, and strategies for working in this burgeoning industry.

3 p.m.-4:30 p.m. B11: Metadata for Radio and Streaming: The Digital Dashboard Moderator: Glynn Walden, CBS Radio Con- sultant—Marlton, NJ This panel will discuss how the digital dash- board contributes rich textural support for audio for analog/HD radio delivered over-the- air or via a hybrid radio and streaming services.

5 p.m.-6:30 p.m. B12: The Audio Crew of The Late Show with Stephen Colbert…. A Special Broadcast Event Come and hear, even join in the conversa- tion, about “a day in the life” of these unsung heroes in this rare opportunity as they are always on the job. Fascinating backgrounds and expertise come together in this truly stel- lar, award winning, audio team with a legacy of amazing music to create the sound of The Late Show with Stephen Colbert.

SATURDAY, OCTOBER 21 3 p.m.-5 p.m. (1E13) B13: What’s This? Doctor Who with Spatial Audio! Presenter: Chris Pike, BBC R&D—Sal- ford, Greater Manchester, UK; University of York—Heslington, York, UK BBC lead engineer Chris Pike takes us into the magic that happens in post to transform a normally recorded episode into a magnitude enhanced experience. Chris will highlight the tools, the process, and how BBC maintains compatibility with existing workflows. 16 THE AES DAILY | DAY 3 EDITION Genelec Sets Strategic Alliance With Nashville Facility BOOTH 322 Genelec has formalized a strategic “This relationship with Addiction Sound alliance with Nashville’s Addiction Sound Stu- Studios has been an evolving one and will now dios and its management. Under the terms of provide end users and clients of our local Nash- the agreement, Addiction Sound Studios (the ville dealers the ability to evaluate and listen to private studio of legendary Journey keyboard- our monitors—with their own reference CDs ist/songwriter/multi-platinum artist Jonathan or line-in program material if they choose—in Cain and famed multi-platinum, multiple Bill- order that they get the most accurate sonic pic- Genelec Inc.’s Territory Manager John Whitcore (left) and Eastern Territory Sales Manager Paul Stewart in Addiction board #1-charting producer/mixer/engineer/ ture when making a purchasing decision,” says Sound Studios’ Control Room A at a recent Genelec event held multi-instrumentalist David Kalmusky) will Genelec Inc. Territory Manager John Whitcore. during the 2017 Summer NAMM Show. become a showcase venue for Genelec, where As part of the new relationship, Addiction members of the Nashville music community can Sound Studios has recently acquired several of the recently introduced “The Ones” series); now audition a wide selection of Genelec Active pairs of Genelec Active Monitors, including 8350A Smart Active Monitors; and 1238A Monitors in a controlled studio environment. 8351 Three-way Smart Active Monitors (part Three-way Smart Active Monitors. L-Acoustics Launches First Hal Leonard Issues Avnu-certified Systems ‘Audio Production Basics AES SPONSOR L-Acoustics is launching the LA12X amplified control- ler, its first product to receive Avnu certification, with the LA4X soon to receive certification. A member of the Avnu Alliance since 2015, with Pro Tools | First’ L-Acoustics has committed its development resources to open-standard BOOTH 448 Newly released from Hal Leon- AVB technology, which streamlines network infrastructure by combin- ard Books, Audio Production Basics with Pro ing audio signal transmission with system control and monitoring. Tools | First teaches the basics of composing, The Avnu-certified LA12X and LA4X amplified controllers include recording, editing, mixing, and processing built-in AVB bridge functionality, reducing the need for additional costly audio using the freely available Pro Tools | networking equipment and facilitating setup and interoperability of sys- First software. Designed for the digital audio tems. Together, they are the first Avnu-certified amplified controllers to novice, this first-of-its-kind volume is an ideal be launched with both Bridge and Listener technology. To accompany launch pad for aspiring audio engineers, new the LA12X and LA4X, media professionals, and anyone else seeking LA Network Manager better results in their audio endeavors. software is also updated Audio Production Basics covers all the with an AVB controller, bases within the context of a Pro Tools user interface, from basic which eases connection computer and digital audio workstation concepts to audio and MIDI with other systems and recording techniques to procedures for selecting and navigating funda- L-Acoustics’ LA4X and LA12X Avnu-certified amplified integrates seamlessly via mentals of mixing and signal processing and beyond. This book serves controllers shown with a laptop running LA Network an easy and natural user as a resource for both Pro Tools | First users and those employing com- Manager) interface. mercial versions of Pro Tools software.

THE RECORDING ACADEMY PRODUCERS & ENGINEERS WING, AES SPONSOR Producers & Engineers Wing has announced its 2017-2018 Steering Committee. The newly seated Committee consists of a diverse array of music engineers, producers, and audio professionals who, building upon the significant legacy established by prior Steering Committees, will work to address key issues confronting music production and promote meaningful solutions to help move the industry forward. The P&E Wing continues to advocate for excellence in sound recording, audio technologies, and education in the recording arts, along with recognition and rights for music creators overall. The 2017-2018 Steering Committee is chaired by GRAMMY winners Ed Cherney and Ann Mincieli, and includes the following music industry professionals from across the United States: (from left, back row) John Poppo, Manny Marroquin, Ivan Barias, Jeff Balding, Matt Hennessy, David Chesky; (front row) Ken ‘Duro’ Ifill, Ann Mincieli, Ed Cherney, Maureen Droney, Emily Lazar. Not pictured: Greg ‘Stryke’ Chin. Photo courtesy of the Recording Academy. (c) 2017. Also serving as members of the Committee are John Poppo, chair of The Recording Academy Board of Trustees, and Neil Portnow, the Academy’s President and CEO. DAY 3 EDITION | THE AES DAILY 17 DiGiCo Expands Klippel Offers QC S-Series With S31 Stand-alone Software BOOTH 631 When the DiGiCo S21 BOOTH 445 Klippel has released the latest software version QC5 of the was unveiled to the public two QC System for measurement with universal audio interfaces (sound years ago, it broke the mold for cards). The new version is fully compatible with previous versions. small format consoles with two The Klippel Production Analyzer (PA) is the recommended stan- multitouch touchscreens, 21 dard hardware for performing tests on audio devices with the Klip- faders and bundles of I/O. pel QC software. This measurement device is dedicated to reliable Now, DiGiCo has gone operation in a production environment and is part of the QC Basic one step further with this year’s introduction or QC Standard set. For testing passive devices (transducers), the DiGiCo’s S31 console of the S31, the latest console in the S-Series, which Production Analyzer is required as it provides voltage and current opens even more doors, allows for increased function- sensors for accurate measurement of electrical parameters (imped- ality and accessibility, and still sports a highly attractive sticker price. ance, T/S parameters, large signal parameters). The new S31 is the bigger version of the S21. Its expanded work- However, some testing applications, such as purely acoustical or surface offers 10 additional faders for more control and an additional line level tests, do not require the specific features of the PA. A com- 10-inch multi-touch screen for faster access and more visual feedback. pact USB audio interface may be preferable, especially for mobile test- It is ideally suited to applications where more instant control and feed- ing applications such as installed speaker diagnostics, measurement in back are critical to the operator. car interior, on-site quality check of rental equipment and many others. The S31 still offers the same flexibility as the S21, with 24 Mic inputs The QC 5 Stand-alone Software may be purchased and operated and 12 Line outputs on the rear of the console for straightforward independently from the PA hardware; only a USB license dongle is audio connection. There are also two DMI ports as standard, as well as required. Virtually any audio device that provides an ASIO or Win- a UB MADI interface for DAW recording. dows Direct Sound driver may be used as measurement interface.

EQUIPPING EQUIPPING YOU WITH YOU FOR SOUND RECORDING

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Let us help you get equipped – visit our AVID PRO TOOLS website at fullcompass.com/recording MTRX INTERFACE or call 800-356-5844 to speak with a Sales Pro today. ITEM #: 9900-71247-00 OUR PRICE $4,499 18 THE AES DAILY | DAY 3 EDITION Dave Isaac Streamlines Personal Shure Unveils Setup With Focusrite Super 55 Pitch BOOTH 366 Three-time GRAMMY Award-winning producer/mix engineer Black Deluxe Dave Isaac has led a dream career in the worlds of R&B, jazz and beyond, work- ing with the likes of Bruno Mars, David Vocal Mic Sanborn, , Prince, EDM BOOTH 514 Shure’s Super 55 Pitch Black Edi- artist Little Sis Nora (Ekberg) and many tion is a modern take on the classic Super others. His personal setup has evolved 55’s look and performance. Featuring a in recent years, as he has found a use- matte black die-cast case, black foam and ful hub in the Red 8Pre 64-In / 64-Out smooth frequency response for natural Thunderbolt 2 and Pro Tools HD com- vocal reproduction, and comes with an inte- patible audio interface from Focusrite. grated swivel stand mount base and micro- “Not too long ago, I basically phone bag, it is perfect for any performance upgraded my whole setup from scratch,” GRAMMY Award-winning producer/mix engineer Dave Isaac, pictured on-stage or screen. he notes. “I was looking forward to a with the Focusrite Red 8Pre 64-In/64-Out Thunderbolt 2 and Pro Tools The Model 55 Unidyne is the epitome simplified network infrastructure, and HD compatible audio interface. of classic microphone design just as much Red 8Pre was definitely the right inter- today as it was more than 75 years ago face for my setup. I can get frustrated with first set it up, I was up and running in a matter when it debuted. The Super 55 Pitch Black different pieces of gear and different software of minutes. Having this flexibility has, with- Edition’s eye-catching black-on-black windows, when they don’t all seem to be speak- out a doubt, saved me both time and money. design is a twist on the original and adds ing to each other. But getting the Red 8Pre as The range of options in connectivity is insane. a sleek style to any production. The rigor- the hub has made that a non-issue. Now I can If by some chance I want to move into more ously-tested supercardioid microphone car- focus on the music. than 64 channel outs in the future, it’s really tridge rejects unwanted noise and prevents “The Red 8Pre has allowed me the flexibil- as simple as adding one additional Dante piece feedback. The shock-mounted cartridge ity to do whatever I need as far as inputs and that won’t take up too much rack real estate. I and tough, die-cast case reduces handling outputs, all with one Red 8Pre unit. When we love the thought of that!” noise and protects it from damage. Fairview Baptist Upgrades With Allen & Heath BOOTH 740 Fairview Baptist Church, a rap- idly growing church in Corryton, TN, recently upgraded its audio with three Allen & Heath dLive Digital Mixing Systems and an integrat- ed ME Personal Monitoring System. Emmaus Media & Design of Harrisburg, PA, installed the Allen & Heath systems and trained Fairview Baptist’s tech crew. A dLive S Class S7000 Surface, DM48 MixRack and DX32 Expander provides FOH mixing in the church sanctuary. A dLive C Class C3500 Sur- face and CDM48 MixRack serve its Student Center. And, a C3500 Surface with CDM32 MixRack mixes live streaming and audio for video in the church’s broadcast booth. “We had exceeded the space on the old mixer, we had audio quality problems and routing issues that consistently came up,” Brandon Harold and Mike Appel Mix FOH for Fairview Baptist on the Allen & Heath dLive S7000 explains Fairview Baptish Media and Techni- live streaming to allow people from all over to evaluating several mixer options, Cumming cal Director Jeremy Cummings. “Also, we not just watch our services but to be immersed says, “the dLive blew the others away!” wanted to upgrade the audio experience for in our church’s worship gatherings.” After DAY 3 EDITION | THE AES DAILY 19 PMC’s ‘Masters of Audio’ Seminars

DEMO ROOM 1E06 PMC is hosting its ‘Masters 3:15 p.m.-4:15 p.m. SA13 “3D Ambeo and Live Recordings” by Jim of Audio Seminars’ (an exclusive partnership SA09 “Kraftwerk and Booka Shade” by Tom Anderson & Ulrike Schwartz with the AES) in Demo Room 1E06, which Ammermann will have a full 9.1 monitor setup based on 1:15 p.m.–2:45 p.m. the company’s IB2-XBD-A monitor system 4:30 p.m.–5:30 p.m. SA15 “Afternoon Listening Session in 9.1” by supplemented with IB1S-AIII for the surround SA10 “Native Immersive Recordings” by Daniel Paul Geluso channels and reference twotwo.6 models for the Shores height channels. The Award-winning MB3S- 3 p.m.–4 p.m. XBD-A monitors, launched earlier this year at SATURDAY, OCTOBER 21 SA14 “Capturing Height” by David Bowles, NAMM, will also be on display. 10:45 a.m.–11:45 a.m. Paul Geluso and Sungyoung Kim

FRIDAY, OCTOBER 20 9 a.m.-11 a.m. “This is a MIX, this is a MASTER” session by Ian Corbett

11 a.m.–Noon EC09, “Recording Critiques” moderated by Ian Corbett MORE JUST Noon-1 p.m. “Mixing Like a Producer” by Chris Tabron THAN 1:30 p.m.–3 p.m. WIRELESS SOLUTIONS GA12 “Resident Evil 7” by Akiyuki Morimoto, Ken Usami CONNECTORS FIBER OPTIC SYSTEMS SAMAR AUDIO DESIGNS, BOOTH 362 The new VL373 COPPER CONNECTIONS is the latest addition to the acclaimed Samar Audio Design MF65-VL37 family. The mission statement for the VL373 was to create a “true to life” stereo image, a goal achieved by placing two ribbon elements in very close proximity to each other effectively minimizing any phase distortion up to very high frequencies. The VL373 is essentially

two VL37 microphones in ® one chassis--a genuinely XLR & plugs / speakON high-performance stereo powerCON® / rearTWIST® BNC ribbon microphone ready ® ® ® to capture your finest etherCON / opticalCON / XIRIUM PRO performances. Another unique feature of the More than just connectors. We put our long time know- VL373 is a special swivel how and our whole passion into our innovative products and unique solutions. No matter whether a rock band or a lighting mechanism that allows the designer, an industrial application or a broadcast studio – Neutrik user to change the angle of offers high quality and reliable solutions for every application. stereo spread. For more information visit AES booth 529 | NAB NY booth N271

Join us on facebook www.neutrik.com www.experience-neutrik.com 20 THE AES DAILY | DAY 3 EDITION exhibitor | listings 1602 Group TiMax 451 143rd AES Convention | October 18-21, 2017 A Designs Audio 229 Jacob K. Javits Convention Center, New York, NY Accusonus Inc 304J Acoustics First Corporation 553 Acusticaudio SRL 223 Adorama 847 AEA Ribbon Mics & Preamps and CB Electronics Monitor Controllers 214 AES 3D05,2D08 Allen & Heath LTD 740 Alteros, Inc. 2D05 Alto Music 340 AmazonLab126 651 American Express OPEN 940 American Music & Sound 740 Amphion Loudspeakers Ltd. 646 Ampridge Mktg LLC 341 AMS Neve 548 Antares Audio Technologies 304F Antelope Audio 632 AOA Medical, Inc 652 API - Automated Processes, Inc 540 APS 246 ASL Intercom B.V. 953 Audinate, Inc. 517 Audio Alchemist 215 Audio History Library & Museum 650 ROOM Audio Plus Services 939 1E15/16 Audio Precision 1E01 IN HALL 1E AUDIO TECHNOLOGY SWITZERLAND - NAGRA 240 AUDIOMATICA SRL 748 Audionamix 504H Audio-Technica U.S., Inc. 422 audioxpress 452 Augspurger Monitors 548 AVID 503 Benchmark Media Systems, Inc. 350 Brainstorm Electronics 331 B&H Photo, Video, Pro Audio 539 Berklee College of Music 459 Bricasti Design, Ltd. 225 BAE audio 224 Best Service GmbH 304B Bruel & Kjaer 852 Bedrock USA 218 Big Bear Audio 250 Burl Audio 249 Belden 449 Bock Audio & Soundelux USA 222 Cadac Holdings Ltd 758 CONCESSION VESTIBULE VESTIBULE VESTIBULE | DAY 3 EDITIONRAMP 3E THE AES DAILY 21 Exhibits | Level 3

EXHIBITOR SERVICES 776 STAGE EXHIBITOR SERVICES ONE

FREEMAN TRANSPORTATION

FREEMAN AV

VENDOR PSE STUDIO & HOME RECORDING STAGE TWO TO & FROM BROADCAST, BROADWAY & LIVE SOUND EXPO NAB NY 872 971 969 870 OPTOCORE GmbH

DN FOCUSRITE DEMO ZONE BUS 868 967 366 466 866 965 3D05 261 SOUND ON SOUND 262 361 362 461 762 862 961 458 259 360 459 MIX WITH 758 857 860 959 258 THE MASTERS CADAC 257 358 457 HOLDINGS, LTD. 858 957

DN AISLE 200 AISLE 300 AISLE 400 AISLE 500 AISLE 600 AISLE 700 AISLE 800 AISLE 900

454 553 653 754 853 854 953 3D04 251 250 352 451 452 551 651 751 752 851 852 951 548 650 249 345 350 449 549 749 750 849 850 448 647 247 248 547 747 748 847 848 945 346 445 646 245 246 446 545 546 645 745 746 845 846 946 3D03 944 242 341 541 840 540 640 740 839 DPA 939 239 340 440 WAVES INC. 942 240 339 539 MICROPHONES 940

3D02 235 436 535 736 836 935 534 631 833 233 232 331 433 434 533 CALREC 734 834 933 AUDIO 632 932 231 330 531 532 429 430 230 329 529 3D01 229 828 927 CLEAR-COM LECTROSONICS, 928 724 INC 624 SENNHEISER YAMAHA ELECTRONIC 225 226 325 CORPORATION CORP. GENELEC INC. 824 522 OF AMERICA LAWO 223 224 322 422

SHOW OFFICE 321 221 222

ELEV 5 PHONES 517 218 317 FOCUSRITE PRO 217 416 HALL 3E ENTRANCE 315 515 514 SALES OFFICE 214 314 213 313 414 513

SOFTWARE @ AES/ SOFTWARE AUDIO 4 VR PAVILION AVID PAVILION 304 408 T-MOBILE HALL 3E SALES ENTRANCE LOUNGE 406 503 404

TELEPHONE ELECTRICAL ELECTRICAL TELEPHONE CLOSET CLOSET CLOSET CLOSET

STORAGE STORAGE

AMERICAN JANITORS CLOSET EXPRESS

VALVE ROOM ELEV 1 22 THE AES DAILY | DAY 3 EDITION exhibitor | listings (continued)

Calrec Audio 631 Demo Rooms | Level 1 CB Electronics 214 CEDAR Audio Ltd. 545

Clear-Com 828 HEARTSTART DEFIBRILLATOR Cloud Microphones LLC 647 Coleman Audio 259 Core Sound LLC and Marshall Day Acoustics 315 Crane Song 231 d&b audiotechnik US 3D04 Dale Pro Audio 839 Dan Dugan , Inc. 833 Dangerous Music, Inc. 215 dB Technologies 740 DIFFUSE by Listen Audio Systems, Inc. 951 DiGiCo 631 1E05 1E04 1E03 1E02 1E01 DIRECT SOUND LLC 258 DirectOut GmbH 531 Dizengoff Audio 346 Demo Rooms | Level 2 Dolby Laboratories, Inc. 504F,1E05 DPA Microphones 840 Dramastic Audio 548 Private Private 2D01 2D05 2D07 2D03 AES Events AES Events 2D08 2D06 2D02 DynaMount LLC 235 2D04 Dynaudio Pro 440 E.A.R., Inc. 325 Gabriel Sound LLC 341 Hear Technologies 845 Earthworks, Inc 416 G’Audio Lab 314 IK Multimedia 404 ECLIPSE by Fujitsu Ten 2D04 Genelec, Inc. 322 IMSTA 406 Electroswitch 750 Gig Gear LLC 248 Independent Audio ,Inc. 547 Eleven Dimensions Media, LLC 345 GIK Acoustics 436 INTERNET Co., Ltd. 304A Empirical Labs 250 Glyph Production Technologies 215 isoAcoustics 939 ESI Audiotechnik 345 GOKAN ST. 866 iZotope, Inc 414 Essential Sound Products, Inc. 749 GORDON INSTRUMENTS 754 JamRacks Studio Furniture 215 ETS-Lindgren 551 Gotham Audio LLC 246 JBL / Harman 1E05 Eventide Inc. 321,2D01 Grace Design 513,2D03 JoeCo Limited 348 FideliQuest LLC 546 Great River Electronics 734 Josephson Engineering, Inc. 734 Five Towns College 851 Flux:: 504P Group One Ltd. 631 Kii Audio GmbH 2D03 Focal Professional 939 Guzauski-Swist, LLC 215 Klippel GmbH 445 Focusrite Pro 366 FOCUSRITE DEMO ZONE,517 Hal Leonard 448 Krotos 504A Fraunhofer IIS 945 Hazelrigg Industries/D.W. Fearn 223 KV2 Audio/PLUSMUSIC US INC 3D03 FullScale AV, LLC 346 HEAR Now Festival 213 L-Acoustics 1E02 DAY 3 EDITION | THE AES DAILY 23

Latch Lake Products Inc. 235 Prism Sound 535 Sound Radix 345 Lauten Audio 939 Pro Audio Distribution 548 Soundproof Windows Inc. 857 Lavry Engineering, Inc. 853 Professional Audio Design 548 Soundtoys, Inc. 430 Lawo 824 ProSoCoustic 346 Source Elements LLC 504B Lectrosonics, Inc 927 PSI Audio 345,2D06 Soyuz Microphones 339 Line 6 304C PULTEC (Pulse Techniques, LLC) 548 SPARS Foundation 262 Listen, Inc. 446 QUANTEC 533 Susumu International (USA) Inc. 747 Lundahl Transformers 226 R&D Team Software Development Joerg Panzer 445 Synchro Arts Ltd. 504J Lynx Studio Technology 429 RackFX.com 454 Tac System, Inc. 504D M1 Distribution Inc. 233 Radial Engineering Ltd. 239 Tama Drums / Hoshino USA 247 Malvicino Design Group 533 Radsone Inc. 957 Tape Op Magazine 959 Manley Labs, Inc. 215 RecordME 751 TASCAM 928 Marshall Electronics 534 Redco Audio, Inc. 858 Taylor and Francis Group 746 MASELEC 535 Reverb.com 245 Teegarden Audio 250 MathWorks 221 Rip-Tie, Inc. 752 Tegeler Audio Manufaktur GmbH 457 Media Networking Alliance 944 Roswell Pro Audio 242 Teknosign 345 Merging Technologies 549 RTW GmbH & Co KG 504G TELEFUNKEN Elektroakustik 232 Microtech Gefell GmbH 935 Rupert Neve Designs 251 THD Labs 358 Millennia Media FPC 532 S D Ray Associates 361 The Blackbird Academy 230 Mix with the Masters 458 Samar Audio Design, LLC 362 The Mill Cayman Ltd. 466 Music for the Muscles 360 Sanken Microphones/plus24 331 The Recording Academy Producers & Engineers Wing 2D07 Music Maker Publications 942 Schoeps Microphones 834 The Recording Studio Insurance Program 745 Music Marketing Inc 304L Sennheiser Electronic Corp. 724,1E04 T-Mobile 408 My Studio Sessions 850 Serpent Audio 250 Top-Up Industry Corp. 317 Mytek Digital 932 Servoreeler Systems 313 Triad-Orbit Advance Stand Systems 846 Neutrik USA, Inc. 529 Shure Incorporated 514 Trident Audio Developments 257 Neyrinck 504E Slick Audio 515 Useful Arts Audio 250 NTi Audio Inc 854 Society of Broadcast Engineers 946 Walters-Storyk Design Group (WSDG) 433 NTP Digital Audio Denmark 331 Softube 346 Warkwyn 445 NUGEN Audio 504I Solid State Logic 522 Warm Audio 340 NWAA Labs, Inc. 857 Sommer cable America 533 Oculus 504L Sondhus 461 Wave Distro 250 Omnisonics International 548 sonible 504C Waves Inc. 640 One Stop Systems, Inc. 762 SonicScoop Media Inc 434 Weiss Engineering Ltd. 2D06 Optocore GmbH 969 Sonnox Ltd. 504M WhisperRoom, Inc. 653 Orban Labs 965 Sonoris Audio Engineering 541 Whitestone Audio 250 OwnSurround Ltd. 961 Sonos 2D02 Wildcard Audio Enterprises, LLC 736 PACE Anti-Piracy, Inc 504O SONOSAX 240 Women’s Audio Mission 860 PACSYS Limited 445 Sony Electronics, Inc. 848 Yamaha Corporation of America 624,1E03 PCB Piezotronics 645 Sound DNA 504K Zaxcom 933 Peerless by Tymphany 329 Sound Ideas Music & Sound Effects 836 Zylia sp. z o.o. 862 Phoenix Audio, LLC. 215 Sound on Sound 261 Zynaptiq 345 PMC Monitors 330 Sound Performance Lab (SPL) 939 As of October 6, 2017 24 THE AES DAILY | DAY 3 EDITION Yamaha Updates TF Series Digital Mixers Firmware BOOTH 624 Yamaha is showing V3.5 firmware with the addition of the acclaimed Dugan recently, the CL Series consoles. update for the company’s TF Series Digi- Speech System automixing capability. Devel- The Dugan automixer can be applied to up tal Mixers at AES 2017 at AES 2017. The oped in cooperation with Dan Dugan Sound to eight channels in the TF Series, automati- TF Series offers ease of operation and an Design Inc., the update includes the origi- cally raising the gain of microphone inputs advanced touchpanel based TouchFlow Oper- nal, innovative automatic microphone-mixing that are active, while lowering the gain of ation interface, popular for a wide variety of algorithm that helps professional audio engi- inactive microphone inputs, and adjusting applications. neers cue multiple live mics in situations with each to create a consistent overall mix level. Firmware update v3.5 will significantly unpredictable dialogue. This capability is also Yamaha TF firmware update v3.5 is a free expand the utility of the Yamaha TF Series included in the Yamaha QL Series and more update via download. DiGiCo, Waves in New Per Dave Reitzas, Genelec Integration Method 1032C 'Feels Like Home' BOOTH 631 DiGiCo and BOOTH 322 Noted live and studio engineer David Reitzas, a multi-GRAM- Waves are collaborat- MYand Emmy Award winner whose credits include such acts as The ing on a new method Weeknd, Josh Groban, Whitney Houston, Madonna, Seal, Stevie Won- of integration that will der, Guns N’ Roses and most notably a longtime association with legend- allow users to maxi- ary artist as her engineer of choice for both live and mize the potential for studio work, is among the first to test out the new Genelec 1032C Studio additional new features Monitor. on both the Waves and “I’ve been a longtime user of Genelec monitors, and there is a con- SD platforms. sistency of sound quality across DiGiCo SD consoles will be able to integrate with a Waves Multi- the whole product line,’ Reitzas Rack system, which is running on an external PC, while maintaining says. “When you love a speaker the high level of integration both companies’ clients have come to rely it’s because you get great results on. and they translate well, and your This integration will continue to use the low latency Waves I/O familiarity with that speaker helps interface built into SD consoles for audio routing and will also you make all those important deci- include the existing standard session, snapshot and plug-in control for sions when it comes to recording advance, faster and smooth show control and automation. The inte- and mixing. So the new 1032C feels gration will allow the use of Waves latest and most advanced plug-ins like home to me, and it’s made all to expand the engineer’s sonic options. the better with the addition of the Dave Reitzas with the Genelec 1032C Smart Further enhanced control implementation is being planned. Smart Active Monitoring system. Active Studio Monitor Lawo, New Audio Technology Team on LIME Solution BOOTH 824 Lawo is launching LIME, a compre- (7.1.2 and 5.1.4 bed), MPEG-H, AURO- hensive solution for mixing and monitoring 3D, DTS:X, NHK 22.2, IMAX 6.0 and 12.0, 3D immersive productions on mc2 consoles. Sennheiser AMBEO 3D Audio for loud- The product was developed in close coopera- speaker systems. Furthermore, it is ready for tion with New Audio Technology, developer MPEG-H’s TV Audio System, included in of immersive audio solutions for industrial, ATSC 3.0, designed for personal audio and professional and end user applications. broadcast applications. In addition, LIME The Lawo Immersive Mixing Engine includes an advanced headphone monitoring Lawo’s LIME Immersive Mixing Engine for mc2 (LIME) provides integrated control with solution for 3D and surround productions, Lawo’s mc2 series consoles and is capable of featuring New Audio Technology’s market- tions like Kraftwerk 3D, Expendables I-III, producing all relevant 3D/Immersive audio leading binaural speaker virtualization Head- Frankenstein and Mr. & Mrs. Smith have mixes used by formats like Dolby Atmos phone Surround 3D. Music and film produc- already utilized this feature. DAY 3 EDITION | THE AES DAILY 25 TASCAM US-1x2 Enables Waves eMotion LV1 Embraces Pro-Quality Mobile Recording BOOTH 928 As the newest Dugan Automixing member of TASCAM’s BOOTH 833 Waves now US series of USB 2.0 offers the industry- recording interfaces, the standard Dugan Speech US-1x2 delivers high- System as part of the quality, 24-bit, 96 kHz eMotion LV1 live mix- desktop recording at ing console. Developed an amazingly low price TASCAM’s US-1x2 USB 2.0 recording interface by Waves in conjunction point. An excellent with Dan Dugan, the choice for singer/songwriters, podcasters, and small home studios, the new automixing feature compact US-1x2 interface is highly portable and can be USB bus-pow- incorporates Dugan’s Screen shot of Dan Dugan’s Speech System as part of ered for mobile operation with a Mac or Windows laptop. A second- proprietary voice-acti- the Waves eMotion LV1 live console ary 5 VDC mini-USB power input is provided for iOS devices and for vated process and auto- standalone operation in practice sessions. matically controls the The US-1x2 can record from virtually any source thanks to its selec- gains of multiple microphones in real time while reducing feedback, tion of inputs. The unit’s XLR microphone input employs TASCAM’s studio noise and comb filtering from adjacent microphones. high-end Ultra-HDDA mic preamp, which uses discrete components The Dugan algorithm maintains a consistent system gain, even when and features an impressive -125 dBu EIN rating and 101 dB signal-to- multiple speakers are talking simultaneously, and provides perfectly noise ratio, meaning the noise level is so low it’s almost inaudible. matched crossfades without any compression or noise gating artifacts. The US-1x2 is class compliant for macOS and is compatible with Automixing is integrated into the input channel strips of the LV1, so no Windows PCs using an easily installed ASIO driver. patching is required.

A versitile tube microphone unsurpassed in clarity, detail, and value. The CU-29 Copperhead is the ultimate addition to any engineer’s mic locker as it sound great on drums, vocals, bass, piano, or any other application.

Learn more about TELEFUNKEN CU-29 and other R-F-T Series Microphones at t-funk.com/RFT 26 THE AES DAILY | DAY 3 EDITION Focusrite, Firehouse Serve Hear Launches Hear Up Sound for 2017 IIFA Back PRO Virtual Mixer BOOTH 366 The annual International Indian Film Academy Awards (IIFA) cer- BOOTH 845 Hear Technologies is launching emonies are stadium-filling multimedia and live entertainment extravaganzas. the Hear Back PRO Virtual Mixer. The IIFA 2017 took place at the New Jersey/New York MetLife Stadium and It boasts all the Redhook, NY-based Firehouse Productions provided audio support with a drive features of the system powered by RedNet Dante-networked audio interfaces from Focusrite. Hear Back The event provided a critical test that the network aced, according to Firehouse’s PRO Mixer in a Luis Espinal, systems tech on the project. “This is it. It proved the point. The The Hear Back PRO small card format. connectivity and how everything came up together—it was truly mind-blowing,” Virtual Mixer card The small card Espinal says enthusiastically. format of the new Hear Firehouse Productions provided all sound gear for the stadium and all com- Back PRO Virtual Mixer allows munications for IIFA 2017. Firehouse senior audio tech Simon Welch and senior it to fit into the Hear Back PRO Hub. RF/PL technician Vinny Siniscal led the team of 12 “Firemen” onsite. “The most The Hub can be populated with up to four Virtual Mixer exciting part of the event was the ability to use our newly designed routing and cards, and an unlimited number of Hubs can be connected network solution, built of Focusrite RedNet Products,” says Espinal. “We had a together for larger systems. total of 18 RedNet devices operational on site. Controlling the Virtual Mixer is easy using the new Hear They functioned as the drive system, for routing Back PRO iOS app on any iOS device or even another Hear I/O between locations throughout the stadium Back PRO Mixer. This key feature is ideal for controlling and for interfacing with the TV truck. We used wireless in-ear monitor or standard stage monitor mixes. RedNet D16R 16-channel AES3 I/O, RedNet The app also allows the user to easily drag and drop which A16R 16-channel analog I/O and RedNet A8R iOS devices and Hear Back PRO mixers control each Virtual eight-channel analog I/O units to drive the PA Mixer. through a large Dante network. We also used The Pairing button (and LED indicator) makes it easy to Focusrite’s RedNet AM2 stereo audio monitor- configure which iOS device or Hear Back PRO Mixer(s) will ing unit as a Dante listening device, so we could be controlling each Virtual Mixer. Firehouse Productions’ RedNet-based move on with the production part of the show The new Hear Back PRO Virtual Mixer can be used to mix drive system racks on site at MetLife and still follow line checks without the need to 16 or 32 channels of audio for your wireless in-ear or standard Stadium for IIFA 2017. be next to guest mixers. stage monitor rig. Metering Tools in New Dynaudio Pro Subwoofers Focus at RTW BOOTH 504G Once again exhibiting at the For Studio Monitors Avid Partner Pavilion, RTW is showing BOOTH 440 At AES New outperform the BM 9S II the MM3 MusicMeter, a highly compact, York 2017 Dynaudio Pro that it replaces, while pre- easy-to-use product, that gives users the is launching the 9S and the serving detail and precision. ability to implement loudness metering 18S subwoofers, its first The 18S is powered by a into music-based applications with flex- new subs optimized for stu- 500-watt amplifier and also ibility and superior accuracy. The Mas- dio monitors in 10 years. comes with a powerful DSP terclass PlugIns Series, which includes Long-throw 9.5-inch woof- engine and built-in presets its Loudness and Mastering Tools, will ers that are designed to be for Dynaudio Pro studio also be on display. These plug-ins provide equally efficient for stereo monitors, as well as time- RTW hardware meters as software. Loud- and surround, handling the alignment functionality and ness Tools features metering and loudness frequency range from 18 Hz Dynaudio Pro’s 9S subwoofer a three-band EQ. The new displays for mono, stereo, multichannel to 175 Hz, are at the heart subwoofers come with dou- and surround applications, while Mas- of these new subs. The 9S features one woofer ble front baffles, adjustable low-pass filters (50 tering Tools consists of extensive analy- and the 18S has two in a push-push opposing Hz-150 Hz) and SAT output with defeatable sis and display functions for mastering, design with a woofer on each side. high-pass filter, signal-sensing, auto-power cir- metering and loudness measurements. A Powered by a high-end 300-watt Class D cuit and the ability to daisy chain more units, range of other RTW products also is fea- amplifier, the 9S long-throw driver delivers having the first instance control the overall tured at the booth. low-end extension and SPL performance that volume for all of the subs. DAY 3 EDITION | THE AES DAILY 27 P&E Wing, Sponsors Collaborate on High-Profile Nashville Events

DPA’s d:vice MMA-A digital audio interface As Producers & Engineers Wing sustaining part- ners, Iron Mountain Incorporated Entertain- DPA Features d:vice MMA-A DAI ment Services and Harman Professional provide sponsorship of events and initiatives, including BOOTH 840 DPA Microphones’ d:vice MMA-A to set individual gain for each mic and still the annual P&E Wing GRAMMY Week Cel- Digital Audio Interface, featured in the com- have a single summed mono output. This is ebration and regional professional development pany’s AES 2017 exhibit, provides musicians especially useful to ensure controlled output events. They also serve as members of the P&E with studio quality sound on the go. to mono platforms, including, but not lim- Wing Manufacturer Council, a group of pro The d:vice MMA-A Digital Audio Inter- ited to, Facebook Live. audio-related companies that function as a think face is a high-quality, two-channel micro- “With the d:vice, users can record and tank to address industry issues, including techni- phone preamp and A/D converter offering stream clear and professional audio with any cal best practices, new technology development, mono, dual and stereo capabilities. As part DPA miniature microphone,” says Chris- recording asset preservation, and overall music of the newest firmware update, the app for topher Spahr, VP of Sales and Marketing, creator rights. Recently, the P&E Wing hosted the d:vice boasts a new summing feature. DPA Microphones, Inc. two high-profile events with these partners in When two microphones are connected, it is DPA also is showcasing its range of Nashville. now possible to sum the two channels so that d:dicate Recording, d:vote Instrument, The first event, on Thursday, July 13, put the each of the mics’ audio signals is sent equally d:facto Handheld, d:fine headset and d:screet P&E Wing and Iron Mountain at Third Man to output 1 and output 2. Users are now able Miniature Microphones. Records during the Summer NAMM Show. Dubbed “A Preservation Celebration,” the eve- ning recognized Nashville’s longtime commit- ment to excellence in audio and the archiving L-Acoustics Matriculates to Yale U. and preservation of recorded music and film. On Friday, August 11, the P&E Wing joined AES SPONSOR America’s third-oldest with Harman Professional for an exclusive event college, Yale University is perhaps as titled “From Mic to Mix” at Nashville’s famed noted for its Gothic-flavored archi- Sound Stage Studios. An eclectic roster of Music tecture as for its history and academic City’s recording professionals gathered for a achievements. So, when updating the cocktail reception and recording and mixing AV systems in several of Yale’s existing demonstration with GRAMMY-winning engi- spaces, as well as one of its newest ones, neer Ryan Hewitt, featuring a live performance systems integrator North American by international rock trio Elle Macho. The eve- Theatrix (NAT) turned to L-Acoustics ning highlighted the latest recording products knowing that its products would deliver and technologies from Harman Professional superior audio fidelity while discreetly Yale’s Sudler Recital Hall, home to a new L-Acoustics Kiva/SB15m brands AKG, dbx, JBL and Lexicon, including blending into each rooms’ décor. array the debut of the highly anticipated JBL 7-Series “We’re a preferred vendor for Yale product lines like Kiva and XT were soni- powered master reference monitors. and have worked on their AV systems in the cally and visually ideal for Yale’s orchestra “Thanks to the generous support of our part- past, so when they asked us to find the best rehearsal room and a recital hall. But we ners Iron Mountain and Harman, we continue to sound solution we could for these spaces, we were also dealing with a wider range of envi- promote initiatives and long-term objectives that naturally went with L-Acoustics,” says Pat ronments that included a lecture hall and a speak to the importance of recording profession- Nelson, Chief Operating Officer of NAT, dining room, and we were pleased to find als and the work that they do,” says Maureen which is also an L-Acoustics Certified Pro- that those same systems were very well suited Droney, Recording Academy Managing Direc- vider for Install (CPi). “Theater and audi- for addressing the school’s needs in those dis- tor, Producers & Engineers Wing. torium spaces are one of our specialties, so parate spaces as well.” 28 THE AES DAILY | DAY 3 EDITION Hurwitz Is In La La Land with Prism Sound Lyra 2 BOOTH 300 Award-winning film composer Justin Hurwitz has invested in a Prism Sound Lyra 2 for his private studio and is using it as the audio interface between his preamps and his digital audio workstation. Based in Los Angeles, Justin Hurwitz is A full set of JamRacks studio furniture made of the acclaimed composer of this year’s mas- carbonized moso bamboo sive movie hit La La Land, which won in all seven categories for which it was nominated at the 74th Golden Globe Awards. The film JamRacks also received 11 nominations at the 70th Brit- ish Academy Film Awards, winning five, and Shows Bamboo received 14 nominations at the 89th Academy Justin Hurwitz Awards, winning six. Among these Oscars were two for Hurwitz—for Best Original Score and of the Orpheus audio path and clock circuitry, Studio Best Original Song (“City of Stars”). but in a smaller package and at an improved Hurwitz, who also scored the Oscar-winning price point. Furniture movie Whiplash, chose a Prism Sound Lyra “I heard that Prism Sound made great inter- 2 interface after taking advice from various faces with the highest quality A/D conversion,” Options sound engineers whose opinion he trusted. he says. “I wanted really high quality A/D Based on the company’s award-winning and conversion for the one or two channels that I’m BOOTH 215 Jersey City-based JamRack Studio critically-acclaimed Orpheus interface, Prism recording right now, so this unit was the perfect Furniture manufactures 100 percent solid Sound’s Lyra allows music recording profes- solution. It is now set up and an important part bamboo music studio furniture (using car- sionals to access the power and sophistication of my recording chain.” bonized moso bamboo and natural light bamboo) with a variety of designs includ- ing solid wood 19-inch pro audio racks, mixing and mastering desks and complete Waves Offers Dugan Automixer + music production workstations. For pro- ducers, engineers and artists recording at Dugan speech Plug-In Bundle home, JamRacks offers the ideal solution for recording, mixing and mastering needs. BOOTH 640 Waves Audio is offering its Dugan his patented voice-activated process. All JamRacks bamboo studio furniture Automixer + Dugan Speech plug-in bundle. The Dugan plug-ins save users the need to comes flat packed in heavy duty boxes and With Waves’ Dugan Automixer and Dugan manually ride faders while trying to keep up is high-quality solid wood studio Furniture Speech, mixing multiple microphones can be with several people talking. They can auto-mix for home and commercial studios. Once easy; the two plugins allow for auto-mixing up to 64 channels simultaneously and make assembled these racks and even the large several mics in real time (one for the eMotion perfectly matched crossfades, without compres- desks are so strong they can be carried LV1 mixer, one for other live consoles via Mul- sion or noise gates that would cause unwanted across the room fully loaded and they will tiRack). artifacts. not break apart. Dugan Speech and Dugan Automixer are The assembly hardware used is quarter- the definitive solution for broadcast news inch-20 bolts that go into threaded steel panels, radio and TV talk shows, houses of dowels, so all JamRacks studio furniture can prayer, motion picture dialog recording, discus- be taken apart and put back together over sion panels and any other situation involving and over and over again and It will still be numerous microphones and participants. as strong as the day you bought It. All of In this high-value package, users get the the corners and edges are rounded over and Dugan Speech plug-in for integrated use inside are very soft to the touch with no sharp or the eMotion LV1 , and the square edges. Dugan Automixer plug-in for use with other Visit the jamracks.com online store to major consoles via the MultiRack plugin view the different pro audio racks and stu- host. Developed with pro audio inventor Dan dio desk configurations available. Dugan, both Dugan plug-ins are powered by The user interface for Waves’ Dugan Automixer DAY 3 EDITION | THE AES DAILY 29 NTI Adds Audio OwnSurround Recordings to NoiseScout Showcases ID Audio BOOTH 854 Through a browser to the NoiseScout unattended noise moni- BOOTH 961 Finland’s OwnSurround has created ID Audio, a new toring web portal you can now listen to quality live audio samples from dimension of sound bringing user-tailored, multi-dimensional, a remote location. This audio feature helps you to identify what may be spatial audio experiences to anyone, anywhere. causing sound level alarm conditions without you having to physically IDA creates a high-quality personal audio profile using an visit the location. innovative simulation approach. Instead of highly uncomfort- NTi Audio is constantly striving to add worthwhile features to the able, time consuming, and expensive measurements, all it takes NoiseScout system. Audio recordings is the latest addition. The system now is a simple 3D scan of a listener’s head and ears to create a itself consists of an XL2 Sound Level Meter with microphone, a Net- custom audio profile. Box that transmits the level data via 3G, LAN, WLAN modem and the For years, the only way to determine your unique acous- NoiseScout servers, which store the recorded measurement data. Using tic profile (HRTF), was to take physical measurements in an the NoiseScout web portal, the data, including audio, can be viewed at anechoic chamber. That meant placing small microphones any time and stored locally. inside your ears-not a very comfortable feeling-and remaining If an alarm is triggered, 10-second WAV files are made available for completely still inside the chamber for long periods of time. immediate download in the browser. Also, at any time, you can listen to IDA makes things fast and simple by 3D scans. The hard live audio for 10 seconds. work is in the computing, and that’s taken care of by cloud When a sound level is exceeded over a specified measurement time computers-where the simulation environment is completely interval, NoiseScout searches for the three periods with the highest sound anechoic and the 3D model completely still. The scans are per- pressure level within that time interval and stores the audio recordings of fectly safe and the result is an extremely high-quality personal- those three periods on the server. ized acoustic profile. Print_100617.pdf 1 10/6/17 4:09 PM

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producersandengineers.com 30 THE AES DAILY | DAY 3 EDITION Unimed Massager Takes Away the Pain Better BOOTH 652 (AOA MEDICAL) The Unimed Massager is and sitting in front of the television—sound famil- a state-of-the-art TENS unit device designed to iar? In this way, many of our muscles go unused Testing at give users hours of relief and relaxation. Com- while others are over-stretched, causing your pos- pletely safe and easy to use in the privacy of your ture to slip and body aches and pains to begin. NWAA Labs own space, the Unimed Massager is ideal for The Unimed Massager is the ideal TENS unit those aches and pains we accumulate from daily to counteract this problem; it is lightweight and BOOTH 857 Led by former NASA sci- activities like sports, driving, housework and even easily portable, and has a large LCD screen for entist Ron Sauro, NWAA Labs is an extended periods of sitting. easy selection of the type and strength of massage independent laboratory providing uni- You may have heard the saying “sitting is the you need. Additionally, a rechargeable lithium ion form loudspeaker testing and mate- new smoking.” The modern lifestyle really does battery, together with Unimed’s range of compat- rial testing to the audio, acoustics, and lead us to over-sit. Driving to and from work, sit- ible accessories, makes the Unimed massager ideal construction industries. NWAA Labs ting in your office chair all day, then coming home for hours of safe relaxation. has the unique ability to do MACH Testing of speakers and diffusers at a high resolution and extended low frequency testing of acoustical materi- Krotos Reformer Unleashes als to meet or exceed ISO and ASTM standards. Voice-Designed Sound Effects Based just southwest of Seattle, Washington, the laboratory facilities BOOTH 504A Krotos develops innovative technolo- include the two largest reverberation gies that fundamentally change the way sound chambers in the world used for trans- effects are created. Krotos’ Dehumaniser wowed mission loss and absorption testing and Hollywood and the video game industry by mak- a huge, free field, speaker and diffuser ing it possible for actors to perform other-worldly measurement facility. The largest rever- creature growls in blockbusters like Avengers: Age beration chamber is 738 cubic meters of Ultron, The Jungle Book, Far Cry 4, Doom, and in size and can accurately measure fre- many more. Now, with the launch of Reformer, quencies down to 25 Hz. It is also the Krotos makes it possible to actually design sound second quietest room in the world with effects with your voice or any other live audio a background level of -15 dBA. This input. room is used for absorption coefficient, Unleashed from the constraints of the mouse Krotos’s Reformer VST/AU/AAX plug-in with free Black Leopard transmission loss and sound power test- and keyboard, Reformer allows sound artists to Sound Library ing. Our second reverberation room sculpt effects in real-time. Imagine using your voice is 667 cubic meters in size and is the to design a dramatic explosion in an action movie. the Avid Pro Tools digital audio workstation source room for transmission loss mea- Artists can go beyond using the voice, and use any and other popular sound editorial environ- surements. As a source room it pro- audio input to design a sound effect. For example, ments. Visit www.krotosaudio.com to download vides a broadband noise source of 142 the engine revs of a street racer can be re-formed Reformer and the Black Leopard sound effects dB from 31 Hz to 16 kHz. Its location into ferocious black panther snarls. library for free, and purchase additional sound offers clients easy access for cost-effec- Reformer is now available as a plug-in for effects libraries. tive shipping via ground, air or sea. PCB Launches University Laboratory Programs BOOTH 645 PCB Piezotronics is launching its With a history of providing discounted Each Laboratory Program includes: *Dis- University Laboratory Programs for academic sensors to the academic community, PCB cipline-specific kits with the most commonly facilities. These programs are said to provide expands its commitment with four new Labo- used sensors (acoustics, vibration, force) and cost savings for Acoustics, Civil Engineering, ratory Programs that help both seasoned and accessories; *Instructor’s Guide of laboratory Mechanical Engineering and Physics curricula first-time instructors provide comprehensive experiments with step-by-step instructions: that incorporate hands-on student labs. Each educational programs for their engineering *Technical poster for display in laboratories; program bundles sensors and accessories, lab- classes. Students will have hands-on expe- *a classroom lecture by a PCB expert. oratory experiments, classroom lecture, and rience with state-of-the-art sensors used by PCB Piezotronics says additional engineer- technical posters for use in academic class- today’s Research and Development facilities ing and technical disciplines will be added in rooms and laboratories. throughout the world. the near future. ConnectAES RETURNS TO NEW YORK FOR THE ULTIMATE PRO AUDIO EVENT

Join us to celebrate our 70th Audioversary as we return to NYC!

Exhibit & Sponsorship bookings now being taken AES NY ‘18 Where audio professionals and technology connect

Exhibits: 17 – 19 October 2018 Program: 17 – 20 October 2018 co-located with Javits Center, New York, NY

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AES145th AES_Daily-FP.indd 1 9/26/17 5:14 PM 32 THE AES DAILY | DAY 3 EDITION A-T Offers Content Creation Microphone Solutions

BOOTH 422 Audio-Technica is offering a range of USB output, the AT2020USB+ adds a built-in microphones favored by podcasters, social media and headphone jack with volume control that allows YouTube personalities, journalists and interviewers, direct, delay-free monitoring, with a mix control livestreamers, voiceover artists, musicians and more. that blends microphone and pre-recorded audio. The lightweight, feature-rich AT8024 is suited The System 10 Camera-mount Wireless is suited for video production, in-field interviews, product for video production, electronic news gathering demos—wherever capturing high-quality audio for (ENG) and every mobile application in between. video is the task at hand. Selectable cardioid mono System 10 digital wireless mics provide multi-lay- and internally matrixed mid-side stereo modes pro- er diversity performance assurance, with instan- vide the flexibility to focus the recording on a single taneous channel selection, sync and setup in the sound source or to widen the field for outstand- license-free, TV-interference-free 2.4 GHz band. ing sonic realism, while selectable filters and pads The BP40 large-diaphragm dynamic microphone extend its flexibility. is suited for podcasting, streaming and broadcast. The AT2020USBi is suited for tasks including The advanced-design mic includes a multi-stage podcasting, remote streaming into IOS devices Clockwise from top left, the Audio-Technica content internal windscreen, and offers rich, natural con- and voiceover use. Modeled after the critically production microphones: BP40 large-diaphragm denser-like sound. acclaimed AT2020, this digital output mic fea- dynamic, AT2020USBi cardioid condenser, System 10 The final highlight is the AT2005USB, suited tures an A/D converter with up to 24-bit/96 kHz Camera-Mount Wireless and AT8024 stereo/mono for voice-over-IP, podcasting and, as it features sampling, both use USB and Lightning connector camera-mount. both a USB output and an XLR analog output, it cables and an integrated gain control. can be used from stage to studio to field recording From the same family, the AT2020USB+ is suited for podcasting, and VoIP applications. home studio recording, streaming and voiceover use. Equipped with a Berklee To Renovate, Re-open Power Station Studio BOOTH 459 Mayor Bill de Blasio and Berklee College of Music have announced Berklee is coming to New York City and will make a home in the historic Power Station studios (most recently called Ava- tar Studios). The world-renowned studio—where artists like Bruce Springsteen, Paul Simon, , , Lady Gaga, David Bowie, Madonna, Pat Metheny, , the cast of Hamilton, and many others recorded iconic albums—was in danger of shutting down. Now, with the support of the Mayor’s Office of Media and Entertainment (MOME) and the Economic Development Corporation (EDC), as well as the vision of Berklee Trustee Pete Muller, Berklee will renovate the 53rd Street facility and transform it into BerkleeNYC, a state-of-the- art recording and video production facility for the city’s music, theater, television, and film industries. BerkleeNYC, with funds from MOME and the EDC, will host both free and tuition-based educational programs, performances, and resources for local musicians and will also feature a virtual reality/ augmented reality studio. Berklee plans to continue operating the studio commercially as the re-christened Power Station at BerkleeNYC, restoring the name established by original owner, visionary studio designer Tony Bon- giovi. Preserving and modernizing the facility, the last recording studio in New York that is able to accommodate a full orchestra or live Broadway cast album recording, ensures that top artists can con- tinue to record in New York, and allows Berklee to expand its vision of nurturing the world’s most promising musicians while engaging in meaningful community outreach.

34 THE AES DAILY | DAY 3 EDITION Avid Unveils VR Innovations for Halo Upmix Leads Nugen Pro Tools BOOTH 503 Avid is issuing a new version of Pro Tools® that Audio Showcase empowers users to take on virtual reality (VR) projects with Facebook 360 Spatial Workstation. Debuting at AES New York BOOTH 504 Nugen Audio is showing a new version of its Halo 2017, the new version includes updates to the integrated Upmix 3D Immersive Extension and launching an update for Dolby Atmos workflows and is more powerful than ever for Loudness Toolkit 2, version 2.7 at AES New York 2017. users at all levels, giving Pro Tools | First, Pro Tools, and Pro Tools This latest upgrade of the Halo Upmix 3D Immersive | HD users new features and improvements that accelerate workflows and expand their creative toolsets. Extension will allow second and third order Ambisonic output Audio professionals working on virtual reality projects can and support for AmbiX and FuMa formats. now produce immersive, full-sphere, surround sound content Additionally, the Halo Upmix 3D Immersive Extension from start to finish in Pro Tools | HD. Users can easily edit and update will also include both 7.1.4 and 5.1.4 channel configu- mix audio in a 3D space with support for first-, second- and rations to facilitate production in Auro-3D formats--a three- third-order Ambisonics formats across Pro Tools | HD tracks and busses, and then output and deliver to the required formats dimensional audio standard used across several industries, for playback. Pro Tools | HD also includes Facebook 360 Spatial including cinema, gaming and automotive applications. Workstation for enhanced VR functionality. Also included in Nugen Audio’s Halo Upmix The new version of Nugen’s industry standard Loudness this version of Pro Tools | HD are enhancements to the Dolby Toolkit, version 2.7, Loudness Toolkit 2, includes the VisLM-H Atmos workflows enabling users to quickly and easily mix and meter, LM-Correct quick-fix tool and ISL true peak limiter. This update makes Loudness deliver immersive experiences for theaters and homes. Musicians and composers using Pro Tools can now create fast- Toolkit an even more powerful workflow companion for NLE and DAW users. Loudness er with enhanced MIDI functionality, work smarter with MIDI input Toolkit 2 also features industry-leading DynApt dynamic adaptation technology available display, and quickly find tracks with the new Scroll to Track feature. as an extension for LM-Correct, enabling streamlined LRA targeting. New features include a unique power-compensated true peak safe dither algorithm for the ISL True Peak limiter. Core Sound Launches OctoMic BOOTH 315 Core Sound is introducing OctoMic, described by the company as the world’s first 2nd-order ambisonic micro- Earthworks Sets Rebates on Select phone.OctoMic is the ideal microphone for recording Virtual Reality (VR) projects, including cinema, video games, music Vocal Mics and ambience. In post-production, OctoMic allows users to BOOTH 416 Earthworks is offering limited-time instant rebates on vocal microphones. define arbitrarily complex microphone configurations and to dynamically track sound sources in space. During playback, it The promotions will be effective on select products through October 31, 2017, and allows for dynamic head-tracking and an unlimited number of available at participating dealers throughout the U.S. playback speaker configurations. Instant Rebate on Vocal Microphones: $100 off instantly on SR20; $100 off OctoMic is the followup to Core Sound’s 1st-order ambi- instantly on WL40V; $150 off instantly on SR40V. sonic microphone, TetraMic. It offers significant improve- “As we prepare to debut the first ever studio vocal microphone in the Earthworks ments over 1st-order ambisonic microphones that are par- ticularly atrractive for cinema, gaming, music and ambience. lineup at the AES Show in New York, we take this time to celebrate vocalists with a Like TetraMic, OctoMic’s frequency response is exceedingly limited time opportunity to get incredible savings on select vocal microphones during flat and extended. Its bass response extends below 30 Hz and the month of October,” says Earthworks Marketing Director Megan Clifford. “We are its treble response above 18.5 kHz. Its dynamic range extends pleased to offer our first ever instant rebate options this year, to introduce Earthworks from the very quiet of a fine recording studio to the roar of a vocal microphones to a new audience of vocalists.” jet engine at close range. TetraMic’s self-noise specification is excellent, but OctoMic improves on it by 3dB. MIME Selects API Legacy AXS For Studio A BOOTH 540 A 32-channel AXS console was dios and a dedicated team. recently commissioned in Studio A at Made Says MIME Chief Engineer Kerry Kernan: In Memphis Entertainment (MIME). The new “The AXS has been a fantastic addition to our music venture opened its doors this past April, studio and has been a joy to track and mix on. and serves not only as a studio, but also a I really like the way the AXS has remained music label, production company, and publish- truly analog, yet the automation features can ing group. still integrate well with the modern DAW MIME’s CEO is legendary Stax Records workflow. We are still discovering all of its songwriter David Porter, who aims to revitalize capabilities.” the Memphis music scene by incorporating the “The legendary API sound combined with creative principles that drove the city’s golden the AXS’s feature set made for an unbeatable era of music in the ’60s and ’70s. The business Made in Memphis Entertainment (MIME) has commissioned combination for Studio A,” Porter adds. “We is off to a strong start, with state of the art stu- API’s 32-channel Legacy AXC console for its Studio A couldn’t be happier with our new console.” DAY 3 EDITION | THE AES DAILY 35 Big Bear Features MP1 Mic Pre

BOOTH 250 Big Bear Audio is featuring its entry level product, the MP1 discrete Class A mic, line and instrument amplifier for 500 series. The MP1 is not a clone. It has been designed from scratch to provide producer, engineers and songwriters with an intuitive and creative microphone and instrument amplifier. The MPI combines a discrete electronically balanced mic with the DIYRE Colour format. This means the MP1 can be used as a studio IN REPOSE At AES New York 2017, Grammy winning Big Bear Audio’s MP1 mic pre producers/engineers Elliot Scheiner (left) and Ed Cherney reference amplifier as well as adding any addi- relax in luxury motorcoach VIP Green Room at Booth 466, tional Colour module to transform the unit presented by The Mill Cayman, Ltd. into a vast range of creative and useful tones. Classifieds Acoustical Products Career Marketplace

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Sign-up today by visiting www.newbaymedia.com 36 THE AES DAILY | DAY 3 EDITION Antelope Spotlights Orion32 ‘A Streamlined World’ HD Audio Interface Foreseen in New Hal Leonard Entry BOOTH 632 Antelope Audio has announced BOOTH 448 Although he presides over Avid, Louis Hernandez the latest addition to its acclaimed Orion Jr. isn’t your typical CEO-turned-author. In two previous series of audio interfaces: Orion32 HD. volumes, he outlined his vision of an American economy Delivering 64 channels of stunning audio structured around the communities that compose its very quality via HDX or USB3, the Orion32 foundation. In his latest book, The Storyteller’s Dilemma: Overcoming the Challenges in the Digital Media Age, released HD is compatible with any DAW on the by Hal Leonard earlier this year, Hernandez Jr. brings market, making it an excellent choice for the same notion of countless small actors with unlim- users of both Pro Tools and Native sys- Antelope Audio’s Orion32 HD 64-channel HDX and USB3 audio ited potential to bear on our tumultuous, ever-shifting tems. interface mediascape. Further, it also delivers Antelope The Storyteller’s Dilemma is neither a diatribe against economic elites nor a postmortem analysis of the ills of Audio’s superior clocking technology and “By bringing the potent combination of digital distribution. Instead, it proposes a broadminded powerful Field Programmable Gate Array pristine conversion and our versatile FPGA new approach to digital media that strives to benefit all (FPGA) realtime effects modeling capabili- sound-shaping tools to both HDX and involved parties--a methodology that at once embraces ties that have made Antelope Audio inter- Native systems, we are opening yet another the intensifying power of the storyteller and eschews faces stand apart from the competition. chapter in our interface innovations. Stu- the notion that disruption and instability must greet an industry hand-in-hand. Rather than favoring any given “Antelope Audio is committed to raising dios can now easily switch between Pro group over another, The Storyteller’s Dilemma imagines a possibilities and breaking down boundaries Tools HD Sessions and Natives DAW’s to streamlined world of shared platforms and common stan- with our interfaces,” says Marcel James, accommodate the modern laptop producer dards that empower creatives: storytellers, developers and Director of U.S. Sales for Antelope Audio. in a flash.” end users alike.

old Star Wars radio show and more. “For the the only copy of that was what was on CD; continued Star Wars | from page 1 later episodes—Episodes I, II and III—they there was no edited master.” used the masters from Pat Sullivan [master- After playing the main theme for the AES Skywalker Sound’s Leslie Ann Jones and Dann ing engineer of all Star Wars record releas- audience—successfully rescued from Episode Thompson as they detailed their efforts for es],” Jones explained. “So we were able to IV’s mag—Jones offered, “You know, we’re Sony Classics’ re-release of soundtracks from give Sony Classics what they needed and they very lucky because we get to sit in the control the iconic film series, Episodes I through VI. released a whole box set including the vinyl. room and listen to all this music. It’s pretty Morphing into an archival and restoration mis- But it really got us thinking again about all stunning. Just as a composition, and separate sion for the first six films, this process was, in this fantastic music. Not only archiving it- from the film, John is just a brilliant writer. fact, a journey through the various recording because it was mostly on analog tape and And to do six full-length, two-hour episodes, he platforms from 1977 to 2005. mag—but also, it really could not be used in finds a way to sneak in these themes ... I’m just “In April of 2012, we were asked to make the format it was in. There are two reasons in awe of this experience.” a digital transfer of a half-inch master of a cue for archiving: to transfer things to the high- Next, the pair played a full composition, from Episode VI [Return of the Jedi] by Matt est resolution possible and to repurpose, so “Droid Invasion” from Episode I, previously Wood, who apprenticed under [sound designer] people can enjoy them ... and it was a monu- unreleased. Following more audio examples Ben Burtt and is now the main sound supervisor mental task.” of their restoration work, Jones posed, “Not for the Star Wars films,” explained Jones. The “The idea was really to have a film version only is this the music of Star Wars, but it is also impetus was Sony Classics moving to re-release and a CD version [of the music] because they the history of film scoring technology. When the soundtracks from Episodes I through VI on were not necessarily the same,” offered Jones. you think about all the different formats that CD as well as vinyl alongside Episode VII. “[For the earliest films], the soundtracks were we have available to us, how people worked “We wanted to look for the original ele- very much like the music that came out on the then and how they work now, it’s so different. ments in order to make 32-bit, 192 kHz mas- film. On the later episodes, they were not like So you should be able to hear some differenc- ters,” she continued. “And the search really the film at all. Many of the cues were cut from es—1977 shouldn’t sound like 2007-so the cue took several weeks to find out what were the the film and were not heard in their entirety- [from Episode I] that you just heard has EQ, appropriate two-track elements to use. At least even on the soundtrack records-because John reverb, surround and LFE.” for the first episodes—Episodes IV, V, and [Williams, composer] wanted to create a listen- For the full insight from Jones and Thomp- VI—we were looking at two track masters, pro- ing experience on the soundtrack records. So he son, visit mobiltape.com to download a MP3 duction masters, EQ copies.” would actually go into the mastering room with of the full presentation, which will be available The search included European versions Pat and create different versions of the cues to in approximately one week following the 143rd with different EQ curves, productions from an make something [different]. That meant that AES Convention. DRIVE YOUR BUSINESS!

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NB+_PrintAd_9x10.875.indd 1 4/10/15 3:55 PM 38 THE AES DAILY | DAY 3 EDITION

announced a partnership with FOX television continued RF Spectrum | from page 1 stations to accelerate the network’s repack- ing schedule. One example, New Jersey-based of RF experts on opening day of the conven- WWOR-TV, which serves New York City, will tion stressed, some wireless equipment users clear the 600 MHz spectrum more than a year will be losing access in their regions much ear- earlier than the FCC’s plan. lier. It’s not all bad news, Ciaudelli noted: “We “I don’t want to sugarcoat it, it will be pain- did gain access to some alternate bands” from SHOW DAILY ful,” said Joe Ciaudelli, Sennheiser USA’s head the FCC, and manufacturers are responding DAY 3 EDITION of spectrum affairs. He was joined on the panel with new products. For example, Shure and October 2017 by Shure’s Mark Brunner, Jackie Green of Sennheiser offer equipment in the 1.9 GHz or Janis Crowley Publisher Audio-Technica spin-off Alteros and modera- DECT band, and Neutrik recently launched its Sue Horwitz, Gene Kinsella, Joanne Melton, tor Karl Winkler of Lectrosonics, all key mem- point-to-point Xirium Pro system, operating at Debbie Rosenthal Advertising Sales bers of the group that has been raising aware- 5 GHz. Equipment meeting the FCC’s criteria Zahra Majma Specialty Sales ness of the wireless audio business with the for operation in the 1.4 GHz band will arrive in Tom Kenny Editorial Director government over recent years. “We’re your real three to five years, Brunner predicted. Part 74 David McGee Editor representatives in Washington,” said Winkler. license requirements have also been changed to The overriding message was that wireless make it easier to operate in VHF. Kieran McGee Pro from Dover operators should get their Part 74 licenses. The Going forward, said Winkler, band plan- Clive Young Senior Editor process is not easy, panelists cautioned, direct- ning-allocating certain frequency bands for Strother Bullins, Steve Harvey ing applicants to contact a handful of experts different types of gear-and coordination with Contributing Editors who can guide them through the procedure for other users will be essential. Use just enough Fred Vega Production Manager a nominal fee. power to get the job done, he said, and select Nicole Cobban Senior Art Director T-Mobile, which acquired the largest chunk equipment that is spectrally efficient with wide Walter Makarucha, Jr. Associate Art Director of the 600 MHz band, has been aggressively bandwidth and good filtering. John Staley Onsite Photographer rolling out its new services and intends to have “Be aware of the transition,” advised Brun- Elvis Patron Saint over one million square miles covered by year’s ner. Plan ahead, be prepared to retire non- Steve Palm President & CEO end. It recently added 26 more counties to its compliant gear and update your inventories. plan, Brunner reported. The major manufacturers are offering trade-in Paul Mastronardi Chief Financial Officer T-Mobile has also been sending letters to programs during the transition. Adam Goldstein Executive VP, Group Publishing Director Part 74 license holders warning them that the “Scan early and often,” said Brunner. “You Tony Savona Director of Editorial, carrier will be firing up new services begin- need to be aware of your environment.” Above Marketing and Creative Development ning November 1. On October 10, T-Mobile all, he said, operate responsibly. Published by NewBay Media L.L.C. 28 East 28th Street, New York, NY 10016 Tel: 212-378-0400 If you haven’t walked through the exhibi- Email: [email protected] continued Web: www.newbaymedia.com AES 2017 | from page 1 tion floor yet, get moving because it closes up Friday night, while the convention rolls on, a record on All Access registrations. Our vol- serving up workshops, panels, seminars and Tonight: A Storytellers Cabaret, being held at unteer convention committees continue to raise more through Saturday evening. If you want to 7:30 p.m. at Dolby Labs’ NY Screening Room the bar, year after year, with the quality and check out that hot new product you read about (Tickets are required). range of content in the technical program. We here in the Daily, now is the time. The fun continues Saturday, with neat have convention co-chairs Agnieszka Roginska Elsewhere, there’s plenty to learn; Friday events like the Latin Producers Panel; the and Paul Gallo to thank for their amazing lead- alone, there’s legendary engineer Bob Ludwig Lunchtime Keynote by Emily Lazar, “More ership. They, and the talented full convention hosting the Platinum Mastering Panel, dis- Cowbell? Trusting Your Sonic Gut;” and the committee they assembled, supported by the cussing ways to approach mastering for high- AESx Talks, hosted by Alex Case—only a few hardworking, AES headquarters team, have resolution audio, streaming and hi-res stream- of the many events to check out as the show produced an energetic and bustling exhibition ing. Out on the exhibition floor, there’s both coasts to a close. floor and a full four days of fascinating sessions the Project Studio Expo on Stage 2, offering If you don’t have time to check out every- covering every aspect of professional audio.” programs like New Frontiers in Project Stu- thing you wanted to, don’t worry—there’s There’s only so much looking back you can dios and The Special Sauce for Mixing a Hit always next year…and this time, we mean it. do, however, when the show is still running Record; and the Live Sound Expo, presenting Instead of a two-year wait for the next AES through the end of Saturday. There’s still lots its own workshops on mixing, noise predic- Convention in New York, the grand event will for audio pros to do, from great education- tion for outdoor events and eight things to get return to the Jacob Javits Convention Center al events to networking opportunities to the right about point source optimization. And October 17-20, 2018, co-locating once again chance to see, hear and get hands-on with the don’t forget to plan your Friday night around with NAB Show New York. Mark your calen- latest audio gear. the Hear Now Festival’s presentation, Audio dars now and we’ll see you next year! EuropE’s prEmiEr pro Audio EducAtion And nEtworking EvEnt AES MILAN 2018 THE POWER OF SOUND AES 144TH International Convention NH Hotel Milano Congress Centre progrAm: mAy 23 – 26 Exhibition: mAy 24 – 26

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