Preview Edition | Map and Exhibitor Listings on Page 16 from the Editors of Pro Sound News & Pro Audio Review Vip Preview

vip preview edition | map and exhibitor listings on page 16 From the editors of Pro Sound News & Pro Audio Review vip preview

edition the AES Serving the 135thDA AES Convention • october 17-20, I 2013 jacob k. LY javits convention center new york, ny AES Special 135th AES Emphasizes Innovation

Events Mine By Clive Young Pro Audio perpetually reinvents itself, Past, Present, whether it’s new technologies, new techniques, new products or new play- Future ers creating all three. The 135th AES Convention is the place where you’ll By Clive Young find all of the above, however, wheth- It was the philosopher Edmund er you’re interested in the new audio Burke who said, “Those who gear debuting on the exhibit floor, fas- don’t know history are destined to cinating innovations being presented in repeat it.” He wasn’t talking about the many papers and presentations, or this year’s AES show (he died in resume-enhancing skills being taught in 1797, after all), but the phrase still workshops and panels. comes to mind when looking over As the Audio Engineering Society this year’s stellar lineup of Special celebrates its 65th year, pro audio’s Events, which will both look back Main Event returns to the Jacob Javits at pro audio’s history and peer into Convention Center in New York City, its future with equal aplomb. And if October 17-20 this year, and the show you’re interested in hearing what’s will once again host the world’s larg- going on right now at the cutting est gathering of audio professionals, edge? Well, they’ve got that too. attracting attendees from around the For instance, you’ll get a bit globe. This year’s convention will be of all three in “Producing Across bigger and better than ever, as the top Generations: New Challenges, New names in professional audio engineer- Solutions-Making Records For ing converge for the latest audio inno- Next To Nothing In The 21st Cen- vations through workshops, tutorials, As the Audio Engineering Society celebrates its 65th year, pro audio’s tury” (Thurs., Oct 17, 5 p.m.), when technical papers, booth exhibits and rising producers and seasoned vet- product showcases. Main Event returns to the Jacob Javits Convention Center in New York erans share their advice and expe- “Innovation seems to be the key to City, October 17-20 this year, and the show will once again host the riences on what it takes to make creating a growing industry, and we are world’s largest gathering of audio professionals, attracting attendees a living in today’s music business. committed to playing a major role in from around the globe. This year’s convention will be bigger and Hand in hand with that, attend- incubating and promoting this innova- better than ever, as the top names in professional audio engineering ees can find out how those touch- tion,” says Bob Moses, executive direc- converge for the latest audio innovations through workshops, stones of the past, the old-fashioned tor of AES. As such, the Convention tutorials, technical papers, booth exhibits and product showcases. Broadway cast album, get made will feature a packed schedule of paper today with no time or budget at sessions, tutorials, engineering briefs, on the convention floor where top- on the show floor in partnership with the panel, “From The Motor City Master Classes, workshops, standards name pros and manufacturers share and SCN magazine called the Systems to Broadway: Making Motown The committees, special tracks, historical explain their best practices and tricks. Sound Symposium that addresses Musical Cast Album’ (Fri., Oct. 18, events and the ever-popular tech tours “The 135th AES Convention is critical issues for systems designers 12:45 p.m.). Today’s pros also get at some of the city’s most intriguing gearing up to be one of the best ever and installers. Also, NARAS will be their say at the annual Platinum audio-centric sites. with another great tech program full hosting a wonderful tribute to our Engineers (Fri., Oct. 18, 2:30 p.m.), Building on the momentum created of amazing events and new initia- dear friend Phil Ramone. And if that Platinum Producers (Sat., Oct. 19, by its strong convention in San Fran- tives that people have been asking us wasn’t enough, the guys who record 11:30 a.m.) and Platinum Mastering cisco in 2012, this AES show will see a to bring into the show, such as skills the sound for the TV show Dangerous (Sun., Oct. 20, 11 a.m.) panels, as number of new features that were intro- training,” says Moses. “The hugely Catch will be there with war stories to they reveal their up-to-the-minute duced last year make their East Coast popular Project Studio Expo is back rival anything audio engineers have production techniques. debuts, including the Project Studio in partnership with Sound On Sound, attempted before. In short, we’ve got events on page 30 Expo—a free workshop/tutorial space and we are launching another event lots of amazing stuff lined up!” Talkin’ Loud and Sayin’ Something By Steve Harvey though everyone in broadcast was talk- experts to discuss the global state of worldwide (Oct. 17, 3:45 p.m.). Even a cursory glance at this year’s ing about loudness in the run-up to the TV loudness and associated metadata The “loudness war” started in the AES Convention program schedule CALM Act—which legislates television (Oct. 17, 9 a.m.). But this year’s pro- record business 20 years ago as mas- suggests that attention is being focused program-to-interstitial loudness—and gram also looks at loudness issues in tering engineers were encouraged by on a number of topics that touch mul- its subsequent implementation. The radio and, as content is increasingly clients to crank the levels in order tiple segments of the audio business, Broadcast and Streaming sessions pro- made available online, streaming, pon- to have their music stand out on the including that perennial favorite, loud- gram, chaired for the twenty-seventh dering the efficacy of loudness controls radio. With FM radio in Europe now ness. year by the redoubtable David Bialik, in those environments and discuss- adopting EBU R128 loudness nor- In recent years, it has seemed as will once again assemble a panel of ing what solutions are being applied talkin’ loud on page 30

preview the AES DAILY october 17-20, 2013 jacob k. javits convention center new york, ny vip edition Serving the 135th AES Convention 3

JBL Spotlights 3 Series ShowNews Studio Monitors Game Bringing professional studio reference offer impressive performance, with the monitoring to customers at a remark- LSR305 boasting a response of 43Hz Audio Track ably affordable price, JBL Profession- to 24 kHz and a peak SPL of 108 dB, al is at Booth 3600 showcasing its 3 while the LSR308 features a response Series studio monitors. The first stu- of 37Hz to 24 kHz and a peak SPL of Focuses dio monitor line to incorporate JBL’s 112 dB. patent-pending Image Control Wave- Leveraging new technology devel- on Trends, guide, 3 Series is designed to deliver oped for JBL’s flagship M2 Master Ref- exceptional imaging and detail in any erence Monitor launched earlier this listening environment. With a distinc- year, the 3 Series features JBL’s pat- Issues tive appearance, rugged build, pris- ent-pending Image Control Waveguide The 135th Audio Engineering tine sound, and most affordable price enabling the listener to hear greater JBL Professional’s 3 Series Society Convention is featur- points, the new 3 Series will be wel- depth and ambience in recordings. Sur- ing a comprehensive Game Audio comed by music, post and broadcast rounding the high frequency tweeter, waveguide optimizes the phase relation- Track, focusing on audio trends production customers working in ste- and located directly above the woofer, ship of the loudspeakers, and also the and issues in the gaming industry. reo and surround sound formats. the waveguide precisely controls the blend of directed and reflecting sound As the track’s co-chairs, industry The JBL 3 Series features two mod- sound emanating from the monitor arriving at the listening position. The veterans Michael Kelly and Steve els: the LSR305, 5-inch powered studio in the vertical and horizontal planes. product of intensive R&D, the wave- Martz have assembled a compelling monitor; and the LSR308, eight-inch With a complex contour employing guide design allows subtle detail to be and highly inclusive series of pan- powered studio monitor. Both models tiny, meticulously engineered ridges, the heard, even in a dense mix. els, sessions and presentations that address the many dimensions of this complex sector of professional audio. These include multichan- Sony Launches Hi-Res Audio Recorder nel game audio, 3D sound, sound Sony’s (Booth 2526) new PCM-D100 high reso- MHz) and MP3 (320 and128 kbps). Additional lution audio recorder is ideal for a wide range playback support is provided for FLAC, WMA of applications that require the highest sound and AAC files. quality possible, including live music events, The PCM-D100 is fitted with new ultra-high theatrical performances, and electronic news quality, two-position (X-Y or Wide) stereo micro- gathering. The recorder, which replaces Sony’ phones, 32 GB of built-in flash memory and a previous PCM-D50 model, supports the latest combination SD Card/Memory Stick slot for high resolution codecs and formats, including expandable storage. The recorder’s lightweight 192kHz/24bit PCM and DSD. metal aluminum body is built to withstand the The D100 is part of Sony’s newly announced demands of professional applications and offers High-Resolution Audio initiative, a complete long battery life via four AA batteries. series of solutions that have been designed to Other unique D100 features include a five- Game Audio Track co-chair ensure that the latest generation of music enthu- second pre-record buffer, digital pitch control, Michael Kelly siasts can enjoy hi-res digital music with the cross-memory recording, dual digital limiter, type of sound quality available on LPs and a low-pass filter, Super Bit Mapping, built-in effects, immersive game sound, the CDs. editing functions and a built-in speaker.The emotional components of game The recorder includes a high-speed USB port recorder is supplied with Sony’s Sound Forge audio, and other key points. Sony’s PCM-D100 for uploading and downloading files to and Audio Studio software, a wireless IR remote “This year’s Game Audio Track high resolution from Windows PC or Macintosh computers. commander, a microphone furry windscreen, is going to be particularly fascinat- audio portable Recording formats include linear PCM (at 192, carrying case, four AA batteries, AC adapter ing, because of several key changes recorder 176.4, 96, 88.2, 48 and 44.1kHz); DSD (2.8224 and a USB cable. in the gaming industry,” observes Michael Kelly, who in addition to co-chairing the Game Audio Track Focusrite RedNet: ‘So Easy, So Simple, So Cool’ is also director, Research and Development, for DTS and Chair Ken Christian is an avid and accom- Net. “I have about forty classic syn- of the AES’s Technical Committee plished keyboardist and home record- thesizers, going back to the 1970s— on Audio for Games. Kelly, who ist, using a combination of Ableton and this was the only way I had to has co-chaired the technical com- Live and Cubase software to help cre- route them,” he jokes, referring to the mittee since 2004 with Steve Martz ate his music. To connect his large tangle of patch cords that he used to and jointly organized the conven- collection of vintage analog and need to organize and record them, as tion activity since then, points out, digital synths and other gear, he has well as connect them to his hardware “The games track at U.S. AES con- turned to RedNet, Focusrite’s (Booth outboard processors, another staple ventions has grown into a major 2930) acclaimed range of Ethernet- of classic pro audio that he likes to event. This is the first time we’ve networked audio interfaces, based use. “It used to be very complicated, officially shared the chair for the around the industry-standard Dante Keyboardist/home recordist Ken and I’d spend as much time routing as games track, in order to keep on Ethernet audio networking system. Christian, pictured in his control creating. Then I got RedNet, and it’s top of the planning. Undoubted- dramatically changed my studio and ly, the biggest change in the larg- The first to offer IP network audio room, with all components interfaces for the recording studio, the way I work. I love it.” er industry this year will be the connected via Focusrite RedNet RedNet is suitable for any applica- As simple as RedNet has made launch of new gaming consoles. tion that requires moving around high interfaces. his workflow, it has also changed the That’s always an exciting event quality audio with high channel count a Roland Juno-60, as well as a wide way his studio looks. “I can have a for any games track, and a lot of and ultra-low latency. Focusrite’s variety of modern synths such as the live-recording or work area anywhere our events will be covering that. In RedNet is helping Christian stream- Yamaha Motif, Korg Kronos, Korg in the house I have an Ethernet con- particular, we have leaders from line his workflow so he can focus on R-3 and Dave Smith Tempest. Before nection, so it’s really allowed me to both Sony and Microsoft looking the music. he learned about Focusrite’s RedNet expand the boundaries of my studio. at where sound in games is going in Christian’s setup includes vintage system, Christian says his studio was I’m ready to buy my fourth RedNet the future. We’ve also got a strong keyboards including a Moog Mem- a maze of wires, patch bays and patch 3, and that will increase my I/O capa- focus on mobile and Web-based oryMoog, Oberheim OB-8, Prophet cords. Those are headed to eBay, he bility to 128. RedNet is so easy, so gaming to reflect the significance of 5, Yamaha CS70M, Korg MS-10, and says, now that he’s discovered Red- simple, and so cool.” that sector of the games-industry.” october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 4 Serving the 135th AES Convention edition vip

Boulevard Pro Installs Two dbx Showcases New Personal Yamaha CL5s at bergenPAC Monitor Controller

Boulevard Professional At Booth 3600, dbx is showcasing its effects including a choice of built-in (Ridgefield Park, NJ) PMC16 Personal Monitor Control- Lexicon reverbs. Performers can con- recently installed two ler, a remote control located near the trol their mix on the fly in real time Yamaha (Booth 2623) CL5 performer that lets them easily set up and save up to 16 user-preset mixes. Digital Audio Consoles and control their own personal mix of The PMC16 works with traditional along with four Rio 3224- up to 16 channels of audio. The dbx on-stage monitor systems, powered D input/output boxes, one PMC16 Personal Monitor Controller personal monitors, in-ear monitors, at front of house and one is the ultimate answer for musicians and headphones. for monitors, at the Ber- everywhere who ask their soundman Multiple PMCs can be used in an gen Performing Arts Cen- for “more me! Less them!” audio system, and each user can have ter (bergenPAC) in Engle- “Our Personal Monitor Control- a unique mix. The PMC16 is ideal wood, New Jersey. Since ler gives performers real-time con- for everything from house of worship 1986, Boulevard Pro has trol over their individual mixes, systems with a single compact mixing been providing audio sys- right from their position on stage,” console to large-scale orchestra instal- tems for rental and instal- Gathering around the new Yamaha CL5 notes Noel Larson, market manager lations with up to 60 PMCs. lation to customers around digital audio console recently installed by for Portable PA, Tour and Record- The dbx Personal Monitor Con- the Tri-State area. Boulevard Pro at the Bergen Performing ing. “As anyone who’s performed troller uses a BLU link audio bus “We’ve built a strong Arts Center are, from left: monitor tech live knows, your on-stage needs are from either the dbx TR1616 or any relationship with ber- Ralph Grasso; Boulevard Pro’s James Cioffi; always changing. With the PMC16, BSS London system to control 16 genPAC over the past 10 tech director Joe Feola; audio department each musician can now dial in their channels of digital audio (expand- years,” states James Cioffi, head Paul Denise. mix exactly the way they want it— able up to 256). Its clean, unclut- co-owner, Boulevard Pro. and when you hear yourself better, tered control layout, bright LCD “We suggested the new Yamaha CL5 the Drapkin Cabaret & Lounge as well you play better.” screen and Wizard set-up and con- consoles to the audio staff and ini- as its performing arts school located The attractively priced dbx figuration utility make the PMC16 tially provided them as rentals so the just down the street. PMC16 lets users precisely dial in the ‘s set-up time incredibly fast. The crew would have an opportunity to “We’ve been working with Bou- levels of up to 16 channels of audio PMC16 can be configured to oper- see how functional the consoles are levard Pro for many years now, and and tweak each channel with EQ, ate with either 48kHz or 96kHz D/A and how well they sound. The staff they always go the extra mile to make panning, Stereo Width control and conversion. loved the console’s sound and size, sure our shows go off without a hitch,” affording the theater extra room at states Joe Feola, Tech Director. About front of house.” A Yamaha MY lake the console, Feola says “I’ve been a card is installed in the FOH console Yamaha supporter for a long time, Audio-Technica Shows and is used to control the existing and the CL5 fits our needs perfectly. speaker system and all theater zones. By accommodating the files of other Since Boulevard installed two com- Yamaha boards, it helps to speed up AT5040 Studio Mic plete CL systems, bergenPAC can the load in. The venue hasn’t sounded rotate the consoles from the theater to better.” Audio-Technica (Booth 2723) is featuring its AT5040 cardioid condenser microphone, the inaugural model from its flagship 50 Series of elite studio microphones. A-T’s ultimate Live Sound Track Covers studio vocal microphone, the hand- built AT5040 side-address condenser offers remarkably musical high-fidel- Core and Emerging Issues ity performance, with profound real- Always on the lead- Dante and Audio Video ism and depth, presence and purity of ing edge of professional Bridging (AVB). sound. Featuring a proprietary break- audio, the 135th Audio “The AES Show has through element design, the AT5040 Engineering Society Con- always been an invalu- employs four ultra-thin (2 micron) vention is again featur- able resource for infor- rectangular diaphragms that function ing a Live Sound Track mation about both the together providing combined sur- of events, bringing a art and the science of live face area unachievable in a standard high level of focus to key sound,” observes Cohen, round diaphragm. Designed as a first- aspects of live sound, who is also Senior RF choice vocal microphone with smooth Audio-Technica’s AT5040 with expertise and insight Engineer with CP Com- top end and controlled sibilance, the cardioid condenser microphone shared by some of the munications. “Our goal AT5040’s large-diaphragm character- industry’s top profes- is to provide greater istics and fast transient response also weight and decreased transient sionals. Reprising their knowledge of the tech- make it ideal for recording acoustic response that are the expected limita- roles as Co-Chairmen of Henry Cohen, co-chair, nologies and techniques instruments such as piano, guitar, tions of expansive size. around live sound and the Live Sound Track for Live Sound Track strings, and saxophone. Another key AT5040 design the convention, industry do so with great detail The first of A-T’s design criteria feature is advanced internal shock veterans Henry Cohen and Mac and intensity of focus. All of the for the AT5040 was purity of sound. mounting that effectively decouples Kerr have consistently devel- Show sessions offer a good balance To achieve this, A-T engineers devel- the capsule from the microphone oped meaningful and significant between the science and math of oped a four-part rectangular element, body. For additional isolation, sessions that draw large audi- News live sound coupled with its prac- the pinnacle of recent breakthroughs each AT5040 is also provided with ences including top profession- tical applications.” in sound-capture technology. Four Audio-Technica’s new AT8480 shock als in the fields of live audio and sound The roster for this year’s AES Live exquisitely matched diaphragms mount. Featuring a proprietary reinforcement. Sound Track features a mix of cutting- function together (with outputs pro- design, the AT8480 was engineered This year’s Live Sound Track will edge new topics and updated familiar prietarily summed) as a single high- not only to isolate the microphone, cover topics both core and emerging, subjects. Topics include: AC Power and performance element - effectively but to rid the apparatus itself of any from signal processing, grounding, Grounding; Audio Distribution over the largest element Audio-Technica unwanted resonances and other audio loudness and metering, to the rapidly Networks; Sound System Optimiza- has ever created. By using four dia- aberrations that could be transmitted evolving domain of networked audio, tion; Speech Intelligibility in Stadiums; phragms as a single capsule, the to the microphone. It also features a where several sessions, such as “Audio Production Wireless Systems: Tips and AT5040 achieves remarkably large unique locking mechanism that holds Distribution Over Networks,” will Tricks from the Experts; Audio for surface area without the increased the microphone securely in place. address systems and protocols like Corporate Presentations.

october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 6 Serving the 135th AES Convention edition vip

First-Ever ‘System Sound Genelec Spotlights M Series Symposium’ Set for AES Active Monitors

The 135th Audio Engineering Soci- • How Expertise in Intelligibil- Genelec (Booth 2639) is showing its M ety Convention is presenting the first ity Measurement Can Build Your AV Series Bi-amplified Active Monitors. comprehensive look at one of profes- Integration Business, featuring Robert The energy-efficient M Series takes a sional audio’s most robust market sec- Badenoch of Shen Milsom & Wilke, new approach to monitor design as part tors. Sponsored by Systems Contrac- among other notable speakers. of Genelec’s larger ongoing sustain- tor News, the SCN Systems Sound • Big in NYC—How the Metro able initiatives known as GES (Genelec Symposium, will bring together leaders Area’s Premier AV Installations Influ- Embedded Sustainability). The primary in the business of installed AV, with ence the Industry, which will feature focus in developing the new M Series an emphasis on how installed sound AV integrators, consultants and was to proceed with a sustainable mind- is expanding the professional audio manufacturers in a discussion moder- set without sacrificing the accuracy and industry. Running from 10 a.m. to 4 ated by Felix Robinson of AVI-SPL, reliability for which Genelec has been p.m. on Sunday, October 20, 2013, the examining how top-level sound sys- known for the past 35 years, while also SCN Systems Sound Symposium is a tems in clubs, performing arts venues, offering something new and innovative full day of panel sessions finely tuned to retail outlets, restaurants, stadiums, for project studio customers. Genelec’s M030 bi-amplified offer real-world experience and practi- houses of worship, and boardrooms The first two models, recently intro- Active Monitor cal knowledge about the most pertinent in the Big Apple represent the cutting- duced, are the M030 and the M040 AV business and technology trends edge of systems implementation. Bi-amplified Active Monitors, which The M Series models feature new of today. Four in-depth panel discus- • The Practicalities of Networked employ a Natural Composite Enclo- class D amplifiers developed in-house by sions will address the opportunities and Audio in Permanent Installations, sure (NCE) manufactured for Genelec Genelec’s R&D/engineering team. The issues affecting business growth and featuring presentations from Lee in Finland from wood fiber and recy- class D amplifiers are highly efficient, profitability in the near and long term. Minich, Lab X Technologies/AVnu clable material. The M030 and M040 use low distortion amplifiers that operate AV integrators, consultants and oth- Alliance; Kevin Gross, AVA Net- Genelec enclosure design heritage, fea- cooler and lighter than class A/B amps. ers in attendance will benefit from a works; Josh Evans, Lab.gruppen/ turing rounded edges and gently curved They also feature Intelligent Signal Sens- program featuring relevant topics with Tannoy; and moderated by Karl Win- front and sides to provide minimized ing (ISS) power management with auto compelling speakers that are changing kler, Lectrosonics. cabinet edge diffraction and superb power-off/auto power-on and with the the commercial audio business. The • Beyond Background Music— imaging. Both models also utilize a Lam- standby power consumption of less Systems Sound Symposium is open to Designing Sonically Driven Spaces, inar Integrated Port (LIP) for accurate than 0.5W. Automatic voltage selection all Exhibits-Plus badge-holders (free Production Wireless Systems: Tips low frequency response and minimiz- allows the monitors to operate through- with registration in advance). and Tricks from the Experts including ing the enclosure vibration and each out the world. Additionally, the M Series The panel topic and presenter line- Sam Berkow, SIA Acoustics; David employ an integrated advanced Directiv- has high-performance drivers, intuitive up for the SCN Systems Sound Sym- Schwartz, Essential Communications; ity Control Waveguide (DCW), yielding room response controls and system cali- posium represents the many diverse Ben Bausher, JaffeHolden Acoustics; large internal volumes with outstanding bration with XLR/TRS and unbalanced aspects of installed sound. Topics and moderated by Josh Evans, Lab. mechanical strength. RCA inputs. include: gruppen/Tannoy. Advanced Triad-Orbit Mic DPA Features d:dicate Stands Make Debut Recording Microphones The Triad-Orbit (Booth 2961) line DPA Microphones is presenting its of advanced microphone stands and d:dicate Recording Microphone at components is making its global Booth 2551. The d:dictate line com- debut at Booth 2961. bines the company’s best new and exist- “After eight years of intensive ing capsules and preamplifiers, which R&D and nearly a year of testing deliver superior sound across many in the field, we’re ready to intro- applications where the microphones duce to the world one of the most have not been widely used before, such revolutionary new product lines our as live sound applications for touring industry has ever seen. Triad-Orbit and installation purposes. represents a quantum leap in the The d:dicate range includes DPA’s evolution of the microphone stand. new modular MMC4018 supercar- Orbit orbital booms in the new Every industry-standard component, dioid capsule, the counterpart to the from stand bases to mic clips, was Triad-Orbit line include the MMC4018V capsule used in the com- analyzed and reinvented to real- Orbit 2 dual orbital boom and pany’s new d:facto Vocal Microphone. ize a singular objective: precise mic the iOrbit1 iPad holder This microphone is ideally suited for placement without compromise,” applications where clarity and audio DPA’s d:dicate recording says ACCESS Products Group (par- ing ratcheting mechanism. Each leg of quality are critical. d:dicate is also com- microphones ent company of Triad-Orbit) Sr. VP a Triad base has five ratcheted posi- prised of the well-known MMC4007 Marty Harrison. “The T-O system is tions that provide a pitch of up to 65 high-SPL omnidirectional capsule, a lar 4000 and 2000 Series, which are man- comprised of four breakthrough con- degrees to accommodate “boom-less” modular version of the company’s 4007 ufactured to perform within very narrow cepts: TRIAD Articulating Tripod front lines, uneven surfaces and stack- microphone. Widely used for measure- tolerances and offer exceptional linear Mic Stands, ORBIT Orbital Booms, ing. A foot-actuated latch on each leg ment purposes, this capsule has an frequency responses, high SPL and supe- MICRO Orbital Mic Adaptors and provides hands-free adjustability. unbeatable dynamic range and can han- rior gain before feedback. Included in IO Quick-Change Couplers. Incor- ORBIT Orbital Booms utilize a dle extremely high sound pressure levels. the d:dicate range are a wide variety of porating these T-O components into stainless steel ball swivel mechanism to Both capsules are entirely compatible 4000 Series capsules, including the new custom mic stand systems, users will deliver an unparalleled range of motion with other d:dicate preamplifiers and are 4018 Supercardioid, 4017 Shotgun, 4015 realize a whole new level of precision (360 degrees x 220 degrees) that’s ideal for capturing sound from percus- Wide Cardioid, 4011 Cardioid and 4006 and performance.” extremely smooth, quiet and stable. sion and brass instruments, as well as Omnidirectional. 2000 Series Micro- The proprietary TRIAD articulat- MICRO Orbital Mic Adaptors are for audio measurement purposes. phones that are in the line consist of ing base provides the weight and sta- miniature versions of ORBIT Orbital Rounding out the d:dicate line are two twin diaphragm capsules—the 2011 bility of large diameter cast iron bases Booms, exhibiting the same enhanced microphones from the familiar and Cardioid and the 2006 Omnidirectional. and a fully adjustable attitude and range of motion, thanks to the unique well-loved DPA Reference Standard Both of these microphones are rooted in footprint, thanks to its patent-pend- ball swivel mechanism. series, which has been absorbed into the the design technology of DPA’s classic d:dicate range. These include the modu- miniature capsules.

october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 8 Serving the 135th AES Convention edition vip

New Technologies in Lennon Bus Keeps On Rolling with Neutrik Support Broadcast and Streaming This summer it was all Always at the cutting “Broadcasting during about making the cre- edge of key trends in Disaster”—”How Hurri- ative connection between broadcast sound and cane Sandy impacted the young musicians, multi- streaming audio, the ability of broadcasters media production, and Broadcast and Stream- to quickly respond with live performance on the ing Sessions at the 135th accurate, timely life-safety Vans Warped Tour. For Audio Engineering Soci- information,” says Bialik. 16 years in a row, the ety Convention will bring “Is it time to retire John Lennon Educational an intense focus on key the MP3 protocol for Tour Bus (a non-profit frontiers in professional Streaming?”—”The MP3 501 [c] [3] organization) audio. Reprising his David Bialik format has been around a has offered fans across role for the 27th year as long time now,” he says. the nation the chance to Chairman of Broadcast and Stream- “The key point we’re going to focus on experience this high ener- Neutrik president Peter Milbery (left) and ing Sessions, David Bialik has con- is, is backwards compatibility holding gy music extravaganza Brian Rothschild, executive director of the sistently developed meaningful and up future progress?” in a whole new way. As John Lennon Educational Tour Bus and John significant sessions that draw stand- “Audio for Mobile TV” and the world’s greatest non- Lennon Songwriting Contest ing-room-only crowds. “Streaming and the Mobile Initiative,” profit professional mobile This year’s broadcast/streaming which both look at the issues audio recording studio, it was only natural it at what it takes to compose, perform, sessions are the most exciting yet, faces as it moves into the mobile land- be supported by the industry’s leading and produce today’s music. Exposure offering a look at the implications scape. manufacturer of connectivity solutions, to the arts is essential to the long-term of how new technologies will affect Other sessions include timely and Neutrik (Booth 2530). viability of every tour operator and broadcast and streaming audio, such relevant topics, including focuses The Vans Warped Tour is the equipment manufacturer because these as “Audio For 4K TV,” and “Broad- on “Audio for 4K TV,” “Listener nation’s top touring music festival activities serve as a vital link to the casting During Disasters,” a look at Fatigue and Retention,” “Televi- focused on presenting the creative next generation of talent. It is well how the close-to-home strike of Hur- sion Loudness and Metadata,” efforts of emerging artists. The Len- known that when students have a posi- ricane Sandy last year impacted news “HTML5 and Streaming,” “Modern non Bus made stops along the west tive experience with equipment during and other broadcast operations, as Audio Transportation Techniques coast including Seattle WA, Portland, their formative years, they are likely well as updated iterations of long- for Remote Broadcasts,” “Hardware OR, the San Francisco Bay area, and to maintain that brand association. As standing issues facing the industry, Troubleshooting Basics,” “Technol- Southern CA. The Neutrik name was the leading provider of connectivity such as loudness and maintenance. ogy and Storytelling: How Can We a prominent part of the entire tour’s solutions to the music and sound indus- The sessions for this year’s AES Best Use The Tools Available To Tell promotion encompassing print, online, try, I believe our participation in this Broadcast/Streaming series are a mix Our Stories,” “Facility Design” and and the second annual AP Cover Stars endeavor is extremely beneficial.” of cutting-edge new topics and updat- “Loudness Control for Radio and Live Chats. The live stream events were “The Lennon Bus is honored to ed familiar ones. Events include: Internet Streaming.” hosted by Warped Tour founder Kevin partner with Neutrik and share the mis- Lyman, and brought the action of the sion of providing young students with festival to countless music fans across the opportunity to learn about creat- the world. ing music and videos at no cost,” said Full Sail Installs 64-Channel Attendees were encouraged to Brian Rothschild, executive director download the official free Neutrik of the John Lennon Educational Tour branded Lennon Bus app to tweet their Bus and John Lennon Songwriting API Vision Console questions to their favorite cover stars Contest.

Full Sail University’s Studio B is now fessional platform and prepares them and have them answered live. Eight the official home of a 64-channel API with knowledge of the technology they different bands took part in the Q&A, (Booth 2539) Vision console. The con- will encounter when pursuing careers including Kellin Quinn of Sleeping with sole will be the centerpiece of the uni- in the music industry.” Sirens, Christopher Drew of Never- versity’s Recording Arts Academic Pro- Founded more than thirty years ShoutNever, and Dan Campbell of The DAthe AES I LY gram. After a rigorous process, Full ago, Full Sail University, according Wonder Years. Sail’s new Vision eventually became the to Rolling Stone Magazine, offers Peter Milbery, President of Neutrik vip | preview edition console of choice, primarily due to its one of the top five best music pro- USA, Inc., reflected on the company’s distinct analog sound and highly teach- grams in the country and is home to participation in the John Lennon Edu- October 2013 able signal path. Installed on January over 18,000 students from all over the cational Tour Bus and the Warped Tara Preston Associate Publisher 2nd, Full Sail has completely integrated world. “We’re honored to have an API Tour 2013. “The combined John Len- Karen Godgart Advertising Sales Director the console into its Academic Program. console at such a prestigious educa- non/Warped Tour provides an excep- Doug Ausejo Specialty Sales “We are excited to have the API tional facility,” API President Larry tional opportunity for music enthusi- Frank Wells Editorial Director Vision Console installed into one of Droppa comments. “Students enrolled asts of all ages to get a first-hand look David McGee Editor our on-campus studios,” says Darren in the Recording Arts program learn Schneider, advanced session record- all aspects of console technique and Kieran McGee Pro from Dover ing course director at Full Sail Univer- we’re convinced API products are an ShowNews Clive Young Senior Editor sity. “This addition to campus provides excellent way to both teach and under- Strother Bullins, Steve Harvey, Kelleigh Welch another opportunity to work on a pro- stand signal path and signal flow.” Contributing Editors Historical Fred Vega Production Manager Nicole Cobban Senior Art Director Walter Makarucha, Jr. Associate Art Director the control room glass and constant- Events Brad Glazier Onsite Photographer NewsFrom ly working to improve it. (Without Elvis Patron Saint the bean counters). From the incep- FRIDAY, OCTOBER 18 tion, building to a “price point” was Steve Palm President & CEO Dangerous Music 5 p.m.-6:30 p.m. ignored in favor of: Audio Quality Paul Mastronardi Chief Financial Officer BIG BAND RECORDING Dangerous Music (Booth 3249) is First—sonic integrity is non-negotia- Adam Goldstein EVP, Group Publishing Director Presenter: Robert Auld, Auldworks, New composed exclusively of musicians, ble. The brain trust at Dangerous Tony Savona Director of Editorial, York, NY, USA studio owners, producers and engi- determines the product’s function, Marketing and Creative Development neers—the very same group of people feature set and how to make it sound SATURDAY, OCTOBER 19 Published by NewBay Media L.L.C. for whom Dangerous products are as transparent and musical as human- 28 East 28th Street, New York, NY 10016 5 p.m.-7 p.m. designed. That’s the magic: living the ly possible. Building the gear they Tel: 212-378-0400 35 MM MUSIC RECORDING recording experience on both sides of want to use. Email: [email protected] Presenter: Thomas Fine, Brewster, NY Web: www.nbmedia.com

1 Color - 0 Cyan / 100 Magenta / 99 Yellow / 4 Black

october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 10 Serving the 135th AES Convention edition vip

Grundman Project Studio Thrives with IsoAcoustics ShowNews Music producer, writer and mastering with EDM artists Celeste and Roku- The proof, says Grundman, is in engineer Paul Grundman has installed ro under the moniker Grundmaster, the improved speed and accuracy with a pair of IsoAcoustics (Booth 2542) and works as an engineer at one of which he can now finish a mix with Project ISO-L8R155 acoustic-isolating the top Hollywood music mastering the IsoAcoustics stands. “Before the monitor stands at his project studio facilities, Bernie Grundman Master- IsoAcoustics stands were in my project to optimize the performance of his ing. He reports that the new IsoAcous- studio I had to do six to eight revisions Studio Expo nearfield monitor speakers and ame- tics stands almost instantly improved and recalls of my own mixes-going liorate some of the control room’s the performance of the Focal Solo6 back and forth to the car for reference, Sessions acoustic irregularities. IsoAcoustics Be near field monitors in his project checking to hear if the vocals were too innovative speaker stands have a studio, which is located in a beach hot or not hot enough-because of all AES has a long history serving the unique, patented isolation technology bungalow in Malibu. “Things became the midrange null points in the room. recording community, from the which effectively eliminates the trans- more balanced immediately,” he says. I’m able to now reduce the amount of early days of monophonic vinyl fer of energy to surrounding surfaces, “Previously, the bass wasn’t as focused. times I go back and forth to the car and to today’s modern multichannel providing better focus across the fre- With the IsoAcoustics stands, the bass listen. After I installed the stands I sent digital audio formats. The Project quency spectrum along with enhanced is more focused; in fact, the whole a mix to Rokuro and he said, ‘I think Studio Expo, created in partner- stereo imaging. frequency spectrum is actually more you got it in one!’ So the stands have ship with Sound On Sound, brings Grundman frequently collaborates focused.” made a difference.” the latest techniques, tools, and experts together for professional training on topics ranging from acoustics in small spaces to micro- Lewitt Features New MTP Live Series Mics phone placement, mixing, and mastering. At Booth 3058, the Austrian based and environments. A three-position The Project Studio Expo will microphone producer Lewitt is featur- high-pass filter makes it possible be located on the show floor next ing two new MTP Live Series flagship to directly influence the proximity to the exhibits. It is open to the models ready for testing: the MTP 940 effect, adapting it in the best-possible public and is free if you register in CM condenser microphone and the way to the sound source. Additional- advance. dynamic MTP 840 DM. ly, the three-position pre-attenuation The MTP 940 CM boasts compre- pad guarantees clip-free results even FRIDAY, OCTOBER 18 hensive features and settings typically in extremely high SPL environments. 11 a.m.-Noon found only in today’s finer reference The externally biased large-dia- Session PSE1 It Won’t Sound studio condenser microphones. Three phragm capsule of the MTP 940 CM Right If You Don’t Hear It Right: Studio Acoustics, Monitoring & switchable polar patterns—wide car- offers an impressive 135 dB dynamic Lewitt’s MTP 940 CM condenser dioid, cardioid and super cardioid— range. Due to its high headroom and Critical Listening microphone allow for maximum flexibility when Lewitt’s own, patent pending, Direct Noon-1 p.m. dealing with a diverse range of sources Coupling circuit design, the MTP 940 ond new performance microphone, a Session PSE2 Total Tracking: CM delivers an ultra-low self-noise professional tool for onstage use. A Get it Right at Source level of just 9 dB. This makes the MTP three-step high-pass filter directly influ- 1 p.m.-2 p.m. Sanken 940 CM ideal for not only live situa- ences the proximity effect, allowing Session PSE3 Mixing Secrets: tions, but also in the studio, whenever adaptation of the character of the mic Production Tricks to Use with Showcases the goal is to create a live atmosphere to an individual artist’s requirements any DAW with the highest degree of acoustic pre- and tastes. Utilizing Phantom Power, 2 p.m.-3 p.m. Chromatic cision. an internal three-position amplifier Session PSE4 Modular Synthe- Excellent transient response, refined makes the MTP 840 an active micro- sizers electronics and superior capsule design phone, allowing for enhanced capturing 3 p.m.-4 p.m. Series Mics make the MTP 840 DM, Lewitt’s sec- of vocal nuances and distant sources. Session PSE5 Master Your Sanken Microphones (Booth 3158) Tracks: DIY Results to Compete is showcasing the Chromatic Series with the Pros microphones designed for stu- 4 p.m-5 p.m. dio recording. Coinciding with the Full Compass: Session PSE6 You Ask, We launch of the new Chromatic Series Answer is the newest model, the CU-55 cardioid microphone, which features a #thrivingbusiness modern, compact design in a small, SATURDAY, OCTOBER 19 lightweight, easy to position package. Full Compass Systems grew out of a cal instrument sales. The company 11 a.m.-Noon To learn more about the full professional sound studio that began offers over 700 top equipment brands Session PSE7 It Won’t Sound Chromatic Series line visit the new operation in 1971 in Madison, Wis- and also provides services such as Right If You Don’t Hear It Right: website: www.sankenstudio.com. consin. The founder, Jonathan Lipp, computer systems integration and Studio Acoustics, Monitoring & Sanken has looked deeply into provided commercial recording ser- lighting design. Additionally, Full Critical Listening the needs of studio recording engi- vices to both local and regional clients. Compass has a fully equipped Ser- Noon-1 p.m. neers who demand the highest level In 1977, he founded and incorporated vice department that is an authorized Session PSE8 Keeping the of transparent, accurate and natu- Full Compass Systems, Ltd. to pro- repair center for most of the major Human Element in the Digital ral sounding recordings. The result vide sound equipment for a wider pro- brands they sell. An integrated Parts Age: Ways to Keep Music Sound- is the Chromatic Series, a family fessional market; he currently serves department completes the Service ing Alive and Interesting of precision tools that can handle as chief executive officer. In 1979, his department, giving Full Compass the 1 p.m.-2 p.m. anything from the roughest sounds wife Susan joined the company as ability to fix both in-warranty and Session PSE9 Loudness, Levels, of a metal band to the supernatural president and now serves as the chair- out-of-warranty products, including and Metering realms of symphonic recording. man of the board. Her background vintage equipment. 2 p.m.-3 p.m. Famed producer/engineer in marketing and personnel manage- Full Compass is a family-owned Session PSE10 How to Create, George Massenburg says about ment, as well as her familiarity with business with over 180 employees. Produce, and Distribute Your Sanken, “A big sound, well-sepa- theatrical production, complemented Highly trained sales professionals Music Completely in the Cloud rated tones, clean high-end, warm Jonathan’s technical expertise. The make up about one third of the work- 3 p.m.-4 p.m. low-end, and nice attack. The high company grew rapidly over the follow- force. The company’s annual sales Session PSE12 Take Your Stu- frequency response is unbelievable.” ing years, developing a strong nation- exceeded $100 million dollars in 2010 dio On Stage: Live Performance Respected film scoring mixer and wide mail-order business. and it continues to grow. Full Com- with Laptops, Looping Pedals recording engineer/producer Bruce Today, Full Compass is a national pass has been recognized as the third & Other Studio Tech Botnick adds, “The clarity and leader in professional audio, profes- largest woman-owned business in 4 p.m-5 p.m. musicality is astounding.” sional video, A/V, lighting and musi- Wisconsin. Session PSE13 Ask the Editors

october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 12 Serving the 135th AES Convention edition vip

McCarty Leads AES ‘Sound for Picture’ Workshops

Following standing- room-only crowds for similar sessions at Show the recent 134th Con- News vention in Rome, the upcoming 135th AES their needs with the Convention in New most up-to-date York City, is featur- developments and ing a special work- information avail- shop track, “Sound for able. Attendees will Picture,” chaired by learn about the most acclaimed film sound advanced and current department profes- Brian McCarty tools and operations sional Brian McCarty used by Hollywood to Coming to Grips with (On Golden Pond, The Big Lebowski, produce every aspect of sound for film Dick Tracy, others). This series has and television.” been put together by AES’s Sound for Ray Dolby Digital Cinema and TV Committee; the sessions will each feature different ‘Breaking Bad’ By Rupert Neve should go to see him. Oscar- and/or Emmy-nominated/win- In 1968, I supplied a large console to I had lunch with Ray; he was a very ning figures discussing their craft and Goes Wireless PYE Records in London. They had friendly and knowledgeable engineer. the latest technology and techniques various items of outboard gear already He told me that the real money was to used for sound capture, mixing, edit- with Lectrosonics installed, amongst which were some be made in the consumer market. He ing, loudness and more. items that I did not recognize. I was a had developed a simple version of the The workshops will include: Cinema AMC’s pop culture phenomenon little suspicious of unfamiliar gear. It professional gear. He held the opinion Sound—Test Evaluation & Screen Per- Breaking Bad went totally wireless was explained to me that this was noise that it was more profitable to let oth- formance; Cinema Sound Masterclasses; in this, its final season, using wire- reduction equipment. ers do the manufacturing and collect a Music Production for Film—A Master- less microphone technology from Rio Apparently someone had come up royalty on the design. class; Sound Design for Film—A Mas- Rancho, NM-based Lectrosonics. with an expansion/compression circuit I was very cynical. Cassette recorders terclass; Dialog Editing & Mixing for Darryl L. Frank, CAS is the that gave more than 10 dB of noise were becoming popular and hundreds of Film—A Masterclass; World-Class Cin- show’s location sound mixer. With improvement in signal-to-noise ratio unknown makers in the Far East were ema Sound Mixers Discuss Their Craft; 30-plus years’ experience under on tape. In those days a good tape producing them. How was Ray ever Sound for Reality Television—Reality Is his belt, Frank has an impressive recording only reached a 58-60 dB going to discipline this market to appre- Hard Work! (featuring the crew from a track record ranging from TV and noise floor. When copies were made, ciate the value of noise reduction and to popular reality series); Creative Dimen- film to documentaries and reality noise got progressively worse. A mas- line up to pay him for use of his circuit? sion of Immersive Sound—Sound in 3D; shows and knows how to capture ter tape was unusable; editing and I jokingly shook hands with him as we Film Soundtrack Loudness—Control sound in the field. His Lectroson- reduction to a 2-track finished record- agreed that I would never compete on and Standardization. ics gear lineup includes SMa and ing were mandatory. noise reduction if he would never build McCarty notes, “The Sound for Pic- SM Super-miniature beltpack trans- The new equipment was made by consoles. We always stuck to that. ture workshops have been a huge hit at mitters, LMa beltpack transmitters, a guy named Ray Dolby who had a Ray always remained friendly when recent conventions, and at the upcom- UCR411a compact receivers, and small workshop in Battersea, London. we met at shows, etc. When I con- ing New York show, we have taken SRb Dual-Channel Slot Mount His equipment used input and output gratulated him on his success, he asked the program to the next level. Sound ENG Receivers-all of which employ transformers, and I was concerned that me how many legal staff I employed. engineers in television and film are the Lectrosonics’ highly regarded Digi- if his product was used on every track He told me a few years ago that he largest group of working audio engi- tal Hybrid Wireless technology. it would impair the quality of my con- employed 60 design engineers—but 120 neers of any field, and it is important “I’ve been using Lectrosonics sole sound. PYE recommended that I lawyers! that the AES Convention addresses equipment for a good 20 years,” says Frank. “During this time, I’ve used a huge amount of their equipment because it delivers the audio performance, the flexibility, and the reli- Soundcraft Spotlights Si Expression ability I need to get the job done. With Breaking Bad, I’m working pri- Console Range marily with the SMa and SM transmitters—of which I have seventeen- Soundcraft is at Booth 3600 showing touchscreen, iPad ViSi Remote as well as my seventeen UCR411a its Si Expression digital console range, control and Soundcraft Fader- receivers. I recently added four SRb tagged as the most advanced digital con- Glow, adopted from Soundcraft’s slot mount receivers and they, like sole in this low price category. Avail- Vi Series large format flagship all the gear, have been terrific. For able in three frame sizes, Si Expression consoles. FaderGlow is a patented IFB, I use the company’s T4 IFB 1, 2 and 3 offering 16, 24 and 32 fader technology that automatically illu- transmitters and R1a receivers. My and mic inputs respectively; all three minates specific faders in varying equipment setup also includes the are capable of up to 66 inputs to mix colours according to their assign- SNA600 dipole antennas, the ALP- by connecting any Soundcraft stagebox ment enabling you to focus on the 500 shark fin antennas, and the Lec- including the two new Mini Stagebox mix, not where signals might be. troRM remote app for the iPhone.” 16 and 32 (16 x 8 and 32 x 16) models An incredibly powerful DSP “Breaking Bad is a totally RF also launched today at the show (sepa- engine provides four-band paramet- show,” Frank continued. “There are rate release) or by connecting additional ric EQ, delays, gates and compres- no cabled mics used at all. The New inputs over MADI or AES/EBU. All sors on every input, parametric and Soundcraft’s Si Expression digital Mexico desert is a pretty inhospi- external inputs are additional to the 30-band graphic EQ, compressors console table environment for cables, so the connections on the desk itself. and delays on all outputs, as well Lectrosonics equipment does it all. In true Soundcraft style, the mixer is as four Lexicon stereo effects devices, all Freely assignable fader layers allow I love the audio quality and the reli- loaded with industry standard process- capable of being utilised at the same time, you to place inputs and outputs any- ability of the gear is unbeatable. I ing from Harman siblings BSS, dbx, unlike most consoles in this class. Sound- where on any layer, optimizing your never worry about the equipment Lexicon and Studer and many top- craft ViSi Remote allows remote control mix control for the most important because it consistently delivers for end professional features like a colour of the console from an iPad. channels. me. It’s built like a tank.” preview the AES DAILY october 17-20, 2013 jacob k. javits convention center new york, ny vip edition Serving the 135th AES Convention 13

Waves Audio Offers DiGiGrid Optical MADI Interfaces Waves Audio (Booth 2839) now offers into the power of the Waves Sound- taneously: One for vir- only your laptop. DiGiGrid MGB Coaxial and MGO Grid networking and processing plat- tual soundcheck, the With a DiGi- Optical MADI Interfaces for its form. other for backup. So if Grid MGB or MGO SoundGrid protocol. For artists like Record, process and play back up you’re on the tour bus, MADI-to-SoundGrid Beyoncé, Rihanna, Shakira, Bruno to 128 audio channels, using literally in your hotel room, interface, real-time Mars, Bruce Springsteen, Coldplay and hundreds of Waves and third-party at the airport—wher- low-latency network- countless others, Waves SoundGrid is plugins, with super-low latency, clock- ever—you can quickly ing and processing is the live sound networking and processing in at only 0.8 milliseconds. You can and conveniently setup The DiGiGrid MGB coaxial only an Ethernet cable ing platform of choice. The compact even record to two computers simul- your next show, using optical MADI interface away. and portable DiGiGrid MGB coaxial and MGO optical MADI interfaces let you plug any MADI-enabled device Avid Unveils Future- Ready S6 Control Surface Avid (Booth 3021) is unveiling a major new addition to its family of control surfaces for sound recording, mixing, and editing. Avid S6 is designed for audio professionals in the most demanding production environments, delivering the performance needed to complete projects faster while producing the best sounding mixes. In addition, S6 provides mixing professionals with a state-of-the-art solution that easily scales to meet their current and future challenges. Built on the same proven technology that is core to the industry- leading ICON and System 5 product families, the Avid S6 enables mixers to quickly turn around complex projects while swiftly handling last-minute changes. With its unparalleled ability to simultaneously control multiple Pro Tools and other EUCON-enabled DAWs over simple Ethernet, S6 also speeds workflows and enables network col- laboration on a single integrated platform. Avid S6 key features include: Revolutionary modular design— adapting to every stage of a user’s business, the S6 control surface can be customized with the addition of the modules needed to match current workflow. Superior ergonomics—A traditional, familiar console layout allows easy transition from previous systems. The multipoint touchscreen quickly and easily accesses plug-ins, large track counts, surround panning and more, while top-lit status knobs and high resolution OLEDs add operational efficiency. Addi- tional 12.1-inch displays on S6 M40 systems further enhance instant project overview by providing deep visual feedback on key items such as channel names, audio meters, routing, clip names, and scrolling wave- forms. october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 14 Serving the 135th AES Convention edition vip

Electrodyne Spotlights 2501 Networked Audio Track Preamp, 2511 EQ Explores Shifting Paradigm Following the recent noted expert in the In January of 2009, Elec- publication of AES67- domain of networked trodyne and Pete’s Place 2013, a new engineering audio and the Engineer- Audio (both at A-Designs standard for networked/ ing Manager at systems Audio, Booth 3130) teamed streaming audio-over- manufacturer Renkus- up to bring back the classic IP interoperability, the Heinz, the Networked Electrodyne brand in 500 135th Audio Engineer- Audio Track will cover Series module form with the ing Society Convention the entire spectrum of launch of the 501 discrete Electrodyne’s 2501 preamp (top) and is presenting the Net- this complex topic, while two-stage studio preamp worked Audio Track, a catering to audience 2511 EQ and 511 two-band inductor comprehensive exami- knowledgeability levels EQ. Now, almost five years later, the formance components identical to the nation of the ongoing ranging from entry level two companies have come together originals. In fact, the 2501’s trans- fundamental shift in to expert. A partial list once again to offer dual mono-chan- formers are made by Electrodyne’s networked audio. The Tim Shuttleworth of topics covered in pre- nel, 19-inch rack-mounted versions of original supplier to exacting factory traditional paradigm of sentations, which take both products known as the Electro- specifications. transmitting audio and video place from 2:30 p.m. to 7:00 dyne 2501 and 2511. The module’s faceplate sports two media content over dedicated Show p.m. Thursday, Friday and Sun- Like the Electrodyne 501, the new sets of twin large rotary EQ controls point-to-point cabling is being day, includes: Audio Distribu- 2501 is a two-stage, discrete transis- each offering ±12dB of boost and cut rapidly supplanted by methods News tion Over Networks; A Primer tor, transformer-coupled preamp with four selectable frequencies per of moving media content over On Fundamental Concepts of with active DI based primarily on band (LF: 40, 100, 250 and 500Hz / data networks such as Ethernet, local- Media Networking; Command and the modules found in the classic 1608 HF: 1.5, 3, 5 and 10kHz). Shelving area networks (LANs) and IP-based Control Protocols; Networked Audio console. Each amp stage is individu- is available on all frequencies, with wide-area networks (WANs). The Net- Interoperability Standards. ally optimized for peak performance peaking offered at 250 and 500Hz in worked Audio Track, supported by Notes Shuttleworth: “Networked using detailed Electrodyne factory the LF band and 1.5, 3 and 5kHz in the AES Technical Committee on Net- audio is very rapidly integrating itself engineering notes and select high per- the HF band. worked Audio Systems, explores the into the very fabric of pro audio, in latest developments in methods, pro- a wide range of applications. As a tocols and applications of every aspect result, learning as much as you can of networked audio, from low-latency about networked audio is critical to media distribution to command and furthering a career in any corner of control of networked audio devices, the industry. This track was devel- from Audio-over-IP to coding and oped with that in mind, to offer a error correction. wide range of information to the wid- Chaired by Tim Shuttleworth, a est audience possible.”

Clear-Com Features Latest Intercom Solutions Clear-Com is showing its latest range cations, such as rental/staging, per- of intercom solutions at Booth 3030. forming arts centers and houses of The company is displaying its enhanced worship. The new family of ICON Eclipse HX Digital Matrix System and Connectivity Solutions is a collection HelixNet Partyline Intercom System. of communications products that link It is also highlighting its new RS-700 local or globally distributed intercom Series Analog Partyline Beltpacks and systems over Ethernet/IP networks ICON Connectivity Solutions, as well and/or optical fiber. as the most recent updates to its Tem- The latest version of HelixNet Par- pest Wireless Intercom System. tyline provides a multi-system link- The Eclipse HX Digital Matrix ing capability over Ethernet and fiber Systems, comprising the Eclipse HX- to permit a more sophisticated and Omega, Eclipse HX-Median, Eclipse cost-effective digital partyline inter- HX-Delta and Eclipse HX-PiCo, offer com network for large stadiums or simplified setup, user operation and multi-campus venues. This function administration. The Eclipse HX inter- enables the distribution of many digi- coms have large system capacity for tal partyline channels, program audio many audio and user connections. All feeds and auxiliary interfaced audio of the systems provide new capabili- over a single XLR cable to a digital ties, including Ethernet/IP Intelligent beltpack user. Trunking with IVC-32-HX card redun- Further developments to the dancy and dual-labels for multi-lan- Tempest Digital Wireless Inter- guage preferences on V-Series user key- coms include the new CCT-RT-EX panels. Remote Line Extender, which is used The RS-700 Series Analog Party- to increase the maximum distance line Beltpacks are being introduced in between a Tempest BaseStation and celebration of Clear-Com’s 45 years the Remote Antenna Transceiver. of intercom innovation. Designed Also featured in the latest offerings is for everyday use, the reliable RS-700 the Tempest2400’s Seamless Roaming Series beltpacks have an ergonomic feature, which allows Tempest2400 and durable housing, intelligent func- BeltStation users to move freely tionality and exceptional audio per- between as many as 16 different Bas- formance, making them perfect for eStations (coverage areas or zones) a variety of environments or appli- without interference or dropouts. preview the AES DAILY october 17-20, 2013 jacob k. javits convention center new york, ny vip edition Serving the 135th AES Convention 15

Brainstorm Launches SR-28 Time Code Distributor

Brainstorm Electronics is at Booth are two power inputs and an automatic 3158 introducing the new SR-28 Time switch over in case of failure. Code Reshaper/Redistributor at AES The SR-28 recognizes time code at 2013. Like its big brother the SR-112 levels much lower than the threshold Distripalyzer, the SR-28 can drive time of many readers (better than -30dB) code over long cables, making it ideal Brainstorm’s SR-28 Time Code Reshaper/Redistributor while still safely above the noise floor. for synchronization during live shows This feature makes it often possible and remote recording. and level fluctuations. The level of each front panel pots. The input is selected to recover unreadable code simply by The SR-28 time code distributor, output is individually adjustable via via a front panel switch. Also included restoring a proper level. with two inputs and eight outputs, reshapes time code while distributing it, eliminating amplitude distortions

Calrec Launches Callisto Broadcast Console At Booth 2939, Calrec Audio is launching Callisto, a brand new audio console for live broadcasters. Callisto is designed for broadcast professionals who need to produce creative and engrossing broadcast audio easily, but may not require as many resources as the company’s Apollo and Artemis consoles. Callisto’s mechanical design is refined, with a lean construction that keeps components and materials to a minimum. Disciplined power distribu-

Calrec Audio’s Callisto broadcast console tion means the console is around 30 percent more efficient than a compa- rable Artemis Light, Callisto’s closest stable mate. Service access is from the front of the console, and the entire control surface can be replaced by remov- ing just 12 screws. When designing the new console, Calrec focused on ensuring that Cal- listo’s highly intuitive GUI would be suitable for a broad range of operator levels. Users control the console via a 17-inch multitouch screen inspired by familiar tablet technology, with a straightforward interface that uses established finger gestures to navigate the system. The crisp, high-resolution display provides elegant controls and clear presentation of information. Designed for live broadcast applications and with a focus on intuitive operation, Callisto simplifies even complex workflow tasks, such as creating mix-minus feeds, with common procedures that are just one tap away. Callisto’s other large displays are fully configurable to display bus, output, and loudness meters, and feature dedicated metering, routing, and processing information per fader. october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 16 Serving the 135th AES Convention edition vip exhibitor | listings

A-Designs Audio 3130 Triad-Orbit Advanced Microphone Stand Systems 2961 Acme Audio Manufacturing Co. 3126 135th AES convention october 17-20, 2013 ACO Pacific, Inc. 2634 | ADK Microphones 2856 Advanced Audio Microphones 3260 jacob k. javits convention center new york, ny AEA - Audio Engineering Associates 2744 AES NY Section 2564 Air Music Technology 2921P AKG T1 Alto Music 3249 American Express OPEN 2965 AMI/TAB-Funkenwerk/ Tube Equipment Co./Lucas Engineering 3145 AnaMod LLC 2944 ANAVIEW 2958 Antelope Audio 3139 Aphex, LLC 2535 API 2539 Apogee Electronics 2730 APRS 3256 ATC Loudspeaker Technology 3133 Orion Communication Inc. 3225 Audient 2849 Audio History Library & Museum 2666 Audio Power Tools 3126 Audio Precision 2929 Audio Pro Network 2967 Al.So Alternate Soundings 3124 Audio-Technica U.S., Inc. 2723 Audio Technology Switzerland USA (NAGRA) 2531 Audiomatica SRL 2533 Audionamix 2664 Augspurger Monitors 2849 Auro Technologies 3041 Avalon Design 2536 Avenson Audio 2759 AVID 3021 & 2921P B & H Photo Video & Pro Audio 2844 British Audio Engineering (BAE) 3138 Belden 3050 Benchmark Media Systems, Inc. 2935 BeStar Technologies Inc. 3046 The Blackbird Academy 3131 Blue Microphones 3249 Bose Corporation Brainstorm Electronics 3158 Bricasti Design 3060 Broadcasters General Store 3227 Bruel & Kjaer 2847 BSS Audio T1 Bubblebee Windscreens 3158 Burl Audio 3122 Calrec Audio Ltd. 2939 Cartec Audio 3147 Cascade Microphones 3061 CB Electronics 2744 CEDAR Audio Limited 2952 CharterOak Acoustic Devices 3150 Church Production Magazine 2550 Clear-Com 3030 Cloud Microphones, LLC 3031 Coleman Audio 3156 Crane Song Ltd. 3127 Crown International T1 Cymatic Audio 3058 D.W. Fearn 3146 Dan Dugan Sound Design 2647 Dangerous Music, Inc 3249 dbx Professional Products T1 Direct Sound Headphones LLC 3241 DirectOut GmbH 3047 DPA Microphones, Inc. 2551 Dramastic Audio 2849 E.A.R. Inc. 2861 Earthworks, Inc. 2739 ECLIPSE by Fujitsu Ten 2549 Electroswitch 3027 Eleven Dimensions Media, LLC 2557 Elysia GmbH 3126 Empirical Labs 3147 Equator Audio Research, LLC 3048 ESI Audiotechnik GmbH 2557 Essential Sound Products, Inc. 2747 Eventide, Inc. 2630 Extreme Isolation Headphones 3241 FairlightUS 2967 Five Towns College 3051 Flux:: Sound and Picture Development 2921P Focal Press 3057 Focusrite Novation 2930 Fraunhofer IIS 2644 Gabriel Sound LLC 2565 Gearslutz.com on-line pro audio forum 1138 Gefen Inc. 2631 Genelec, Inc. 2639 Gepco / General Cable 2540 General Cable / Gepco 2540 GHIELMETTI AG 2656 Gibson Guitar Corporation Golden Age Project 3249 Gordon Instruments 3144 Gotham Sound and Communication 2738 Grace Design 3039 Granelli Audio Labs 2554 Great River Electronics 2645 Guzauski-Swist 3249 Hal Leonard Corporation 3056 Harman International T-1 Heritage Audio 3249 Independent Audio, Inc. 2950 Institute of Audio Research 3033 Inward Connections 3126 IsoAcoustics, Inc. 2542 iZotope, Inc. 2921P JBL Professional T1 JoeCo Limited 2658 John Hardy Co. 2532 Josephson Engineering 2645 Kaotica 3257 Munro Acoustics 2849 R&D Team Software Development 2957 SK Cooperativa 3252 Taytrix Productions 2558 Klippel GmbH 2957 Music Maker Publications 3049 RAD Distribution, Inc 3248 Slate Digital and Yellow Matter Entertainment 3239 TC Electronic 2933 KLOTZ Audio Interface Systems A.I.S. GmbH 3058 Music Marketing, Inc. 3234 Radial Engineering Ltd. 2573 Softube 3232 TELEFUNKEN Elektroakustik 3253 Kush Audio 3120 MXL Microphones 2633 RealTraps 3226 Solid State Logic 2821 THAT Corporation 2734 Latch Lake Music 2556 Mytek Digital 3244 The Recording Academy 2749 MUTEC - Sonic Distribution 2960 3 Zigma Audio 2856 Lavry Engineering 2835 Neumann 2831 The Recording Studio Insurance Program 2745 Sonivox 2921P TransAudio Group 3132 Lawo North America Corp 2949 Neutrik USA, Inc. 2530 Redco Audio, Inc. 2860 Sonnox Ltd. 2921P Tree Audio 3126 LEWITT GmbH 3058 NewBay Media LLC 2848 Resident Audio 3221 Sonoris Audio Engineering 3045 Lexicon Professional T1 Neyrinck 2921P Resolution 3159 Sontronics Microphones 2849 TruNorth Music and Sound, Inc. 3058 LIndell Audio 3249 NKK Switches 3230 Retro Instruments, Inc. 3126 Sony Electronics, Inc. 2526 TSL 3261 Linear Audio 2560 NTI Americas Inc. 2945 Retrospec Audio / Ecstatic Electric 3220 Sound & Picture USITT (United States Institute Lipinski Sound Corporation 2562 NUGEN Audio Ltd 2858 & 2921P Rohde & Schwarz, Inc 2545 Sound Ideas 2732 for Theatre Technology) 3259 Listen, Inc. 2845 NUGEN Audio Ltd 2921P Roll Music Systems, Inc. 2759 Sound on Sound 3164 Unity Audio Studio Monitors 3147 Little Labs 3124 Ocean Audio 3249 Rupert Neve Designs, LLC 3123 Soundcraft T1 Universal Audio, Inc. 2921P Lundahl Transformers 3153 PACSYS Limited 2957 SAE Institute of Technology 2660 Soundproof Windows 3245 Walters-Storyk Design Group 2657 Lynx Studio Technology, Inc. 2857 Pendulum Audio, Inc. 2944 Saidera Paradiso Ltd. 2546 SoundToys, Inc. 2761 Warm Audio 3249 MAGIX AG 3235 Phoenix Audio LLC 3157 Samar Audio Design, LLC 2959 Source Elements 2921P Wave Distribution 3147 MAGMA 2921P Pivitec 3021 & 2921P Sanken Microphones/plus24 3158 Society of Professional Audio Recording Services Waves Inc. 2839 Manley Laboratories, Inc. 3249 plus24 3158 Mix with the Masters 2946 (SPARS.COM) 2548 Weiss Engineering 2661 Marian Digital Audio Electronics 3158 PMC Monitors 3222 Schoeps Microphones 3052 Stagetec (Salzbrenner Stagtec WhisperRoom, Inc. 3231 Mercury Recording Equipment Co. 3121 PMI Audio Group 3140 sE Electronics 3123 Mediagroup, Inc.) 2651 Marshall Electronics 2633 Prism Media Products, Inc 3032 audioXpress / Circuit Cellar / Elektor USA 2560 Stanford Research Systems 2947 Women’s Audio Mission 3246 Materion Electrofusion 2846 Pro Sound News 2848 Serpent Audio 3061 Studer T1 Yamaha Commercial Audio Systems, Inc. 2623 Merging Technologies 2948 Professional Audio Design, Inc. 2849 Servoreeler Systems 2934 Sweetwater Sound Inc. ZAOR Studio Furniture srl. 3058 Microtech Gefell GmbH 2757 Professional Sound Services, Inc. 2956 ShinyBox Audio 2756 Tac System, Inc. 2744 Zaxcom Audio 3044 Millennia Media, Inc. 3028 Pulse Techniques, LLC 3148 Shure Incorporated 2523 Tape Op Magazine 3161 Zynaptiq, GmbH 2557 Mogami Cable 2633 Purple Audio, Inc. 2756 Sibelius 2921P TASCAM 2731 map and listing AS OF 10/1/13 preview the AES DAILY october 17-20, 2013 jacob k. javits convention center new york, ny vip edition Serving the 135th AES Convention 17

Roger Charlesworth, DTV Audio Group Forum to Debate TV Audio executive director, DTV Audio Group The 135th Audio Engineering Society The discussion will also address the entertainment television. Convention is featuring an open forum long-term implications of mobile data’s “The Sound of the ing an invaluable look discussing the shifting landscape in TV annexation of available broadcast spec- Cloud: Audio Implica- into the issues faced in audio brought about by the transition trum and the resulting impact on wire- tions of Multi-Platform this evolving model that to multi-platform mobile and fixed less production. Finally, the forum will Delivery” will address attendees simply cannot streaming content delivery. again take up the subject of producing these issues with insight get anywhere else,” says Produced by the DTV Audio live music content for television includ- from the very figures Roger Charlesworth, Group—an organization of senior-level ing some key insights on properly man- shaping the future of executive director, DTV broadcast network executives promoting aging 5.1-to-Stereo compatibility for content delivery, provid- Audio Group. best practices and successful strategies for digital television audio production and delivery—in association with the Sports Video Group (SVG), the forum, titled “The Sound of the Cloud: Audio Implications of Multi-Platform Deliv- ery,” will take place 2:30 p.m. to 5:30 p.m., Friday, October 18, 2013, at the Javits Center, and will be open to all reg- istered AES attendees. Participants will include technology leaders from major networks, content owners and distributors, and key technology providers. The Forum will explore the opportunities and challenges presented by advanced audio encoding schemes and debate whether ubiquitous mobile and “over-the-top” streaming content delivery provides an opportunity for greater audio enhancement or demands a retreat to more limited audio options. Lawo Shows Enhanced mc2MKII Console Lawo (Booth 2949) is unveiling several important new features and capabilities for its mc2MKII production console. Featuring cross- platform compatibility with its two larger mc2 Series siblings-the flagship mc2MKII and mc266the updated mc256 MKII introduces a wealth of features aimed at streamlining workflow efficiencies and increasing productivity.

Lawo’s mc2MKII console Among the mc2MKII’s many enhancements is discrete, dual-operator control with fully decentral- ized access to all parameters including bank and layer selection, EQ, dynamics and bus assignment. Due in no small part to the fully featured ISO bay access provisions, the console offers improved ergonomics and intuitive handling, providing opera- tors greater flexibility and confidence when working under pressure. DSP power has been dramatically increased—with support for upwards of 888 channels—and the mc256 now provides full support of RAVENNA technology for real time processing of audio signals in IP-based networked environments. october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 18 Serving the 135th AES Convention edition vip

Radial Showcases Voco-Loco let you adjust the levels going to the pedals to reduce distortion and optimize the Radial Engineering Ltd. is showcasing signal path. A tone control on the return the Voco-Loco, a combination micro- path can then be used to tame overly phone preamp and effects loop insert bright pedals for a smoother more natu- that enables a lead vocalist, brass instru- ral tone while the wet/dry blend control mentalist or harmonica player to incor- enables the artist to mix in as much of porate guitar effects pedals into their the effect as desired. The Voco-Loco’s signal path. Just like an electric guitarist output is fully balanced and able to drive adds effects for soloing such as delay, a typical mixing console input. reverb or distortion, this option is now Award winning composer/pro- John Powell available to anyone’s performance by ducer/instrumentalist Vince Mai has engaging a simple footswitch. already put the Voco-Loco to the test. John Powell The design begins with a high-per- “I’m really gassed about the Voco- formance preamp section that delivers Loco because it is changing the way over 60dB of gain, more than enough I approach electronics with my horn. Embraces to adapt to virtually any microphone As a horn player the primary thing we via standard XLR input. And with a Composer/producer/ work on is our personal sound; we are Lexicon very attached to how we sound. If you built-in 48V phantom power genera- instrumentalist Vince Mai with tor, condenser mics can also be used. use effects sometimes what happens is his Voco-Loco from Radial Radial’s unique Accustate level control your sound degrades if you go directly PCM Total automatically sets the gain and sensitiv- Engineering into the effects units. What the Voco- ity via a dual wafer potentiometer for The signal then feeds an effects loop Loco does for me is allow for my true Bundle improved signal-to-noise. A simple two that has been optimized for guitar ped- sound to be sent through the system, British-born, Los Angeles-based band shelving EQ lets the artist add bass als via standard 1/4-inch guitar jacks. processed and mixed in the degree that John Powell has been an A-list film or accentuate the highs to enhance. Separate send and receive level controls I want it be.” composer since the 1990s for his ability to perfectly set the musical tone of a movie whether dramatic, playful or any mood in between. Powell has been a long-time Lexicon SSL Adds First Live Sound Console to Line (Booth 3600) user, from the begin- Solid State Logic is introducing Live, face, it is especially ideal for any situa- ning of his career to his most recent the first SSL console for live sound tion in which audio quality is important. use of the Lexicon PCM Total Bun- production, at Booth 2821. The Live Based on SSL’s new Tempest pro- dle Plug-ins package His numerous combines SSL’s signature audio qual- cessing platform, Live is deployed in credits include How to Train Your ity and console ergonomic experience a uniquely versatile way. The headline Dragon (1, 2 and 3), X-Men: The into a unique approach for live per- numbers are as impressive as the price, Last Stand, Happy Feet, The Bourne formance FOH and stage monitoring with 976 inputs and outputs and 192 Identity and more than 50 other sound production, and promises to full processing audio paths at 96kHz. live-action and animated films. bring something very special to the live How those paths are configured is “I’m much older than you’d think sound arena. extremely flexible with power allocated Solid State Logic’s Live live sound from looking at me,” Powell says Live is all about power and control to Channels, Auxes, Stem Groups and with typical humor. “When I first console and is perfectly suited to touring or Masters, configured to suit the needs started working in recording studios installation, FOH or monitor systems of each show. All processing is built truly excellent control surface. It com- the jewel in the crown for me was for venues, arenas, houses of worship into the console surface as well as a bines a tablet-style multi-gesture touch always the Lexicon reverb, way back and concert halls. Featuring complete collection of I/O connectivity built into screen with elegant hardware ergonom- to models like the 224, 224XL, 300, flexibility and an intelligent user inter- the frame. A full range of Stagebox ics, excellent visual feedback and a col- 480L and 960L. Back then many of I/O connects to the console via MADI, lection of innovative new features. It these units were incredibly expensive with the potential for larger systems to enables engineers to work exactly how and the idea of owning one was just PCB make use of SSL’s own Blacklight tech- they work today, whether they prefer a dream for me.” nology that carries up to 256 channels new touch screen or classic hardware Fast forward to 2013 and the Piezotronics of bi-directional audio and control via technology, or a combination of both, Lexicon PCM Total Bundle Plug-ins a single fibre connection. and offers new and better ways of doing package, which offers more than a Expands Team Console power is really nothing if things that will make the operator’s life dozen Lexicon reverbs and effects and it can’t be controlled and Live offers a less stressful and more creative. hundreds of studio presets. Thanks to PCB Piezotronics, Inc. (Booth 3233) the PCM Total Bundle, the equivalent is expanding its microphone and of dozens of rack-mount hardware acoustic products team. New team TASCAM Unveils DA-3000 units are now available to composers, members are seasoned professionals musicians, engineers and producers at including an Acoustics Product Man- TASCAM’s (Booth 2731) DA-3000 the option of recording to SDHC and the click of a mouse. ager, Business Development Manag- is the new upgrade to the legendary Compact Flash. The large bright LED “Being able to have as many er and Director of Sales and Market- DV-RA1000HD. The DA-3000 builds level meters ensure its users that the Lexicon reverbs as I want, right ing who are focused on expanding the off of decades of experience, offers the audio being recorded is always set to there inside both my Logic and Pro microphone portfolio and aggressive- same famous BurrBrown A/D con- the proper levels. It’s high-precision Tools rigs is an extraordinary turn ly growing its global market share. verters, is armed with upgraded pres TCXO, fan-less design ensure pristine of events,” Powell notes. “Their “In the coming weeks PCB will and packed into a sleeker, more mod- audio quality and the dual monaural reverbs always add the most musical announce several new products and ern design. This brand new high defi- D/A converters for each channel help sheen, that, to me, makes everything programs requested by customers. nition master recorder/ADDA con- eliminate any possible interference. sound more euphonic and even har- These new microphone products verter takes the solid reputation of the Multiple units can be linked monically richer.” and accessories help round out the DV-RA1000HD and adds to it, offer- simultaneously for increased channel To say Powell is happy with current portfolio to meet our user’s ing uncontended quality, versatility recording. On the rear of the unit are the Lexicon PCM Total Bundle’s test requirements. Other programs and innovation. balanced XLR I/O, unbalanced RCA sounds, capabilities and flexibility will make it easier for our customers The DA-3000 is designed to fit in I/O along with digital audio I/F AES- would be an understatement as he to do business with us,” says Direc- any size recording studio, profession- EBU, S/PDIF for PCM and SDIF-3/ asked, “Can someone please hand tor of Sales and Marketing David al or home, for recording, mastering, DSD-raw for DSD. By incorporat- me a tissue?” Rizzo. Today, PCB sells micro- broadcast, replacing a DAT machine ing TASCAM’s new DA-3000 into The Lexicon PCM Total Bundle phones directly to customers from or for audiophiles wanting to upgrade any studio today, one will not only is designed to work with popular nine direct offices around the globe their files. This powerful recorder sup- guarantee superior audio but also add DAWs like Pro Tools and Logic, as and through an extensive regional ports high sampling rates up to PCM a bit of legend to all recordings that well as with any other VST, Audio distributor network. 192 kHz and DSD 5.6MHz. One has pass through it. Unit or RTAS-compatible platform. preview the AES DAILY october 26-29, 2012 moscone center san francisco, ca vip edition Serving the 133rd AES Convention 19

Gefen SPARS Honors Schwartz with Legacy Award The SPARS (Booth 2548) Board a receptionist. A year later he was turn- of Directors is honoring Howard ing down enough work to warrant the Spotlights Schwartz, industry pioneer, record- addition of a second studio and a sec- ing icon and founder of the legend- ond engineer. Compact ary Howard Schwartz Recording, with For the next 38 years, Schwartz its 2013 SPARS Legacy Award. The grew HSRNY to become one of the award presentation will take place at largest recording studios and post pro- Pro Audio 9:30 p.m. on Saturday, October 19 duction audio facilities in New York at Avatar Studios during the AES/ City. Commercials, TV shows, motion Howard Schwartz SPARS Student Party. Schwartz will pictures, animated feature films and Package give a brief talk on the state of the record albums were all recorded and of the ITS, The Association of Imaging Designed for the discerning listen- post-production industry and pass on mixed by the HSRNY staff in the Technology And Sound; Past President er with limited space, the Gefen lessons learned to students attending beautifully designed and technically of the ITS/New York; and vice presi- (Booth 2631) Compact Pro Audio the party. advanced 25,000 square foot home dent of the New York Production Alli- Package takes audio from any Born in Buffalo, New York, above Grand Central Terminal. ance. He is a past member of AFTRA, computer or laptop and scales it up Howard Schwartz opened Howard Schwartz is one of the 11 original The American Federation of Musi- to a 192K sampling rate, delivering Schwartz Recording in 1975 (after Founders, Past Presidents and Past cians, and was the CEO of HSRNY the music at its highest resolution. being turned down for a raise by his Chairmen of the Society of Profession- from its inception in 1975. Howard The system includes a high quality employers at 12 East Recording) with al Audio Recording Services (SPARS). Schwartz Recording was closed in June amplifier that down mixes multi- one studio, one engineer (himself) and He also served as Past Vice Chairman of 2011. channel digital audio to 2.1 channels, a pair of GefenTV Speakers and the new GefenTV High Reso- lution USB to Analog and Digi- tal Audio Decoder. The Volume Telefunken Features Full Line of Stabilizer circuit built into the amplifier also evens out the volume Premium Mics between different sources and program materials. At Booth 3253, Tele- tion is performed to 2213, which is found in its CK-13 mic “With this package, you have funken Elektroakustic strict standards in both capsule. Telefunken offers a wide range everything you need to create is showing its full line of function and quality. of accessories and restoration parts, audiophile sound quality when premium microphones Telefunken produces including a vacuum tube replacement for using digital audio from a com- as well as showcasing its some of the world’s fin- the original Telefunken VF14. puter or laptop,” says Gefen’s latest innovative models est microphones, from The Telefunken TEC Award-win- director of marketing, Randy Wil- and ancillary products. meticulously manufac- ning line includes the ELA M251E, son. “From the input through to For over a decade, tured historic reproduc- U47, U48, C12, AK47MkII, AR-51, the speakers, high fidelity sound the Telefunken lab tions of classic vintage CU-29 “Copperhead,” and the ELA is delivered with complete integ- team has continuously microphones that are M260 tube mics, as well as the excep- rity. You can’t tell the difference improved their craft to handcrafted in the USA, tional M80, M81 and the M82 dynamic between the music coming from the highest production quality stan- to the R-F-T series of microphones microphones for live and studio per- your computer compared to the dards. The tagline, “Built to a stan- that take advantage of the globaliza- formance. The company also produces original CD.” dard, not to a price,” is far more than tion of technology. premium XLR cables, vacuum tubes The GefenTV High Resolution an advertising line; it is a company- The company has developed a unique and historic microphone restoration USB to Analog and Digital Audio wide mentality. Every step of produc- new diaphragm material called Alloy parts. Decoder is ideal for anyone who wants robust sound coming from a computer-based audio source. It provides a simple way to deliv-

Gefen’s high resolution USB to Analog and Digital Audio Decoder

er computer audio to an amplifier or headset with up to 192kHz audio for high-resolution quality. The small enclosure fits in the palm of your hand and outputs digital (optical) or analog (L/R) two-channel audio using the USB port on the computer or laptop. A digital interpolation filter and digital to analog (DAC) converter are included to strengthen performance. It also includes a quarter inch headphone jack to accommodate high-end headphones, making it convenient for DJs, video gamers and enhanced personal listening. october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 20 Serving the 135th AES Convention edition vip

John Hardy Co. Keeps It Recording Academy P&E Wing ‘Simple, Elegant, Superior’ to Honor Ramone at AES

The John Hardy Company (Booth path combine to provide the highest per- The GRAMMY Sound- and real-world experi- 2532) manufactures and distributes formance. Tables, presented by ence, making everyone world-class microphone preamplifiers The M-1 and M-2 have a 19-inch The Recording Acad- a better person in the and other signal processing products wide rack-mount chassis (1.75 inches emy Producers & Engi- process. The session will for recording professionals, broadcast H x 19 inches W x 8 inches D) and can neers Wing at this year’s be broken into short seg- applications and project studio engi- be ordered with one, two, three or four 135th AES Convention, ments, using video pieces neers. The audio circuitry, components channels. The M-1 Personal mic preamp will be held on Sat- and live conversation and construction methods employed in has an eight-inch-wide chassis with a urday, Oct. 19, from to illustrate specific les- all John Hardy products are simple, ele- capacity of one channel. There are two 2:30-4 p.m. at the Javits sons from Phil’s life and gant and superior. meter options, and the best Jensen out- Center, Room 1E 15/16. career. Participants are The most popular product, the M-1 put transformer (JT-11-BMQ) is avail- This year’s event has scheduled to include Jim mic preamp, has been impressing artists, able as an option. These options and special significance, as it Boyer, Jill Dell’Abate engineers and listeners around the world basic channels can be easily added later. pays tribute to the late, & Rob Mathes, Mark since 1987. Typical comments include The M-1 was introduced in 1987. The legendary Phil Ramone- Phil Ramone Ethier, Frank Filipetti, “Whoa!”, “Even the producer could M-2, introduced in 1996, is a variation -a 14-time GRAM- Bob Ludwig, Al Schmitt, tell the difference!” and “I won’t record of the M-1. The first difference is the MY-winning producer, engineer and Peter Chaikin, Jimmy Jam and Leslie without them!” gain controls: The M-1 has a two-section technologist--with a series of presenta- Ann Jones. The M-1, M-2 and M-1 Personal mic gain-pot providing continuously variable tions collectively called “What Would Maureen Droney, senior executive preamps provide the accuracy and trans- adjustment in two overlapping ranges Ramone Do?” director of the P&E Wing, says: “Over parency that is missing in other mic pre- of 12 to 40 dB and 32 to 60 dB (higher Hosted by Ramone’s son BJ the last few months, we’ve all been amps. No matter what your application, gain available on request). The “HIGH Ramone and GRAMMY-winning reflecting on what made Phil so great they will provide superior results. The GAIN” switch changes ranges. The M-2 engineer Elliot Scheiner, this year’s on so many different levels. We decided world’s best input transformer (Jensen has a 16-position gain-switch with 1% SoundTables event will delve into how that the focus of this year’s GRAMMY JT-16-B), best op-amp (990C discrete metal-film resistors, providing accurate Ramone influenced and touched the SoundTables event should delve into the class-A op-amp) and the elimination of and repeatable gain-settings from 15 to careers and lives of everyone he inter- many different aspects of his personality all coupling capacitors from the signal 60 dB in steps of 3 dB. acted with--continually offering advice and career that made him who he was, and to share with our AES friends some of the things that made him such an influential and beloved individual. This Gotham Features Rx Emergency Two session is guaranteed to be insightful At Booth 2738, Gotham Sound & 2-Channel mixer allows you to save nels can be ISO tracked by recordring and thought-provoking.” Communications is featuring the Rx money, precious bag space, battery the L/R main Bus without sending the From Marilyn Monroe’s perfor- Emergency Two 2-Channel mix bus life and weight while still having com- standard 1-6 inputs to L/R. You now mance/rendition of “Happy Birthday” interface for Sound Devices. Model plete control over the wireless levels in have six ISO input channels and two for JFK, Getz/Gilberto’s “Girl From RX-002 is a modular passive inter- the stereo mix. channels on the L/R Bus ISO recorded Ipanema,” Billy Joel’s “Just The Way face that allows a pair of addition- The Rx Emergency Two is especial- for a total of 8. The 664 has extensive You Are,” Paul Simon’s “50 Ways To al wireless line level signals to input ly useful with the Sound Devices 664 custom monitoring capabilities that Leave Your Lover,” Frank Sinatra’s into a Sound Devices mixer via the and its ISO recording features. The can selected in the monitor menu. A Duets album and Luciano Pavarot- Link I/O or Mix In connector quickly two wireless channels from the RXE mix of the six standard inputs can be ti’s live concerts in Italy, to oversee- adding two channels to a mixer. The Two into the Link I/O will be present recorded by selecting to record them in ing groundbreaking sound evolutions box’s small size compared to an active in the L/R main Bus. These two chan- X1 and X2. for the GRAMMY Awards Telecast, Ramone’s career spanned more than 50 years of artistic and technical innovation. SR1+ Audio Analyzer in SRS Spotlight SRS (Stanford Research Systems, Booth 2947), a leading manufacturer of test equipment and signal recovery instruments, is displaying its improved SR1+ Audio Analyz- er, Perf10 Atomic Clock and other audio test products. SR1+ features faster measurements, improved analog performance, new analysis capabilities and pre-configured setups for ease of use. The low jitter analysis option measures clock jitter to < 7 ps and digital audio jitter < 50 ps. All at a price less than half the competition. The Perf10 10 MHz Rubidium Atomic Audio Clock is the ultimate 10 MHz reference for synchroniz- ing audio master clocks. It offers exceptional long term stability and far better low frequency jitter than competing products that cost thou- sands more. preview the AES DAILY october 17-20, 2013 jacob k. javits convention center new york, ny vip edition Serving the 135th AES Convention 21

Essential Sound Enhances MusicCord Power Cords Essential Sound Products (Booth 2747) included free with every 2-meter (or MusicCord Professional Series by its rugged, high quality construction. is adding adhesive backed “hook and longer) length MusicCord and Music- power cords are based upon a patented MusicCord power cords also establish loop” squares with MusicCord & Cord-PRO power cord is an adhesive- multiple-conductor cable design that a new industry standard for quality MusicCord-PRO power cords to form backed “hook” square. Once affixed replaces a single line or neutral conduc- and reliability. Their road-worthy build a positive retention system when used above the IEC jack on your amplifier, tor with several smaller conductors. This quality is validated by meeting hospital with the included cord wrap. the cord wrap can be engaged, forming design eliminates phase distortions and grade standards for mechanical integ- MusicCord and MusicCord-PRO a reliable retention system that sup- speeds current flow to the component’s rity. MusicCord and MusicCord-PRO power cords are used by a number of ports the weight and relieves stress on power supply. MusicCord’s ground- power cords are backed by a limited touring musicians. In working with the chassis jack. breaking performance is matched only lifetime warranty. them we learned that some with “tall stack” amplifiers can have the IEC power cord jack elevated so as to sus- pend most of the power cable length in the air. The IEC connection is not designed for positive retention. There- fore, the suspended cable weight can cause disengagement. MusicCord and MusicCord-PRO already come with a “hook and loop” cord wrap for securing the coiled cable in transport. We saw an opportunity to use the cord wrap to provide positive retention for the IEC connection. Now BURL Audio Spotlights B2 Bomber ADC BURL Audio’s (Booth 3122) B2 Bomber ADC (Analog/Digital Con- verter) is designed for great specifications, but more importantly, it is designed to give you the ultimate in recording tone. For years now people have been trying to figure out why their digital recordings don’t have the warmth and feel of analog tape recordings. They try using tube mic pres and great compressors, but there is still something missing. There is still that blurriness, that graininess and lack of depth that comes with digital recordings. BURL Audio has solved this problem by designing an analog audio path that is complimentary to your mic pre and to the analog to digital process. By using a revolutionary hybrid circuit with a proprietary transformer, the BURL AUDIO BX1, and a discrete class- A, zero feedback, zero capacitor signal path, BURL has achieved dynamic and tonal balance. Using a B2 Bomber in the studio is like taking the governor off of your recordings. And the B2 is not just for tracking. Mix down and mastering were the main focus of the B2?s layout and design. With 30-segment peak amplitude and RMS metering, the B2 lets you know exactly how hot you are running your signal, which is critical for mastering. The attenuator settings on the front easily allow you to change input headroom giving you the ability to hit the front end hotter or colder depending on what the material calls for. And don’t be afraid to run the B2 Bomber hot, it only sounds better. Couple that with an extremely low jitter clock source, and you have the B2 Bomber ADC, the most significant piece of gear in your studio. october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 22 Serving the 135th AES Convention edition vip

NUGEN Ethan & Doug Build a Better RealTrap

Intros MXF RealTraps (Booth 3226) are real mem- Bowes, Stanley Tools, Aetna Life and In 1994, Doug spent $2500 (1994 brane bass traps that also absorb mid Casualty, and the Connecticut Lottery. dollars) to treat his control room with and high frequencies. This makes them Doug Ferrara is an audio engineer a popular brand of acoustic products. Option for a total solution for recording studios, who in the 1960s played bass with The Unfortunately, they helped very little— listening rooms, home theaters, restau- Fifth Estate, the “one hit wonder” even after all that expense, the response LMB Processor rants, auditoriums—anywhere economi- known for its pop music cover of “Ding still varied wildly throughout the room, cal yet very high performance acoustic Dong! The Witch is Dead.” An accom- making it difficult to mix and judge the NUGEN Audio (Booth 2858) is treatment is required. plished musician and arranger, he has balance of bass instruments. An avid introducing a new MXF file-han- RealTraps is owned and operated by owned a professional recording studio consumerist, Ethan became annoyed as dling option for the company’s Ethan Winer and Doug Ferrara, who for many years where he produces CDs he watched lightweight foam treatment powerful Loudness Management have been friends for more than thir- for both local and nationally known become popular and sell for outrageous Batch (LMB) processor. LMB is an ty years. Ethan Winer is well known musicians. Besides audio and record- prices—especially since most of these offline loudness analysis and cor- throughout the audio industry for his ing, Doug holds an advanced degree in products are ineffective at low frequen- rection tool for OS X and Windows magazine articles in Electronic Musi- engineering from Rensselaer Polytech- cies. When Doug finally decided to build environments that delivers network- cian, Mix, PC Magazine, EQ, Keyboard, nic, and is a member of the New York some real bass traps for his studio in the based, automated loudness-process- Recording, Audio Media, Strings, The Academy of Sciences. Previously he was summer of 2002, these two good friends ing for large numbers of audio and Strad, R-e/p, and others. He has pro- a systems engineer for Motorola. got together and designed a better bass video files without requiring user duced many classical music CDs for James Lindenschmidt, general man- trap. A portable bass trap that doesn’t intervention. The new option intro- Music Minus One, including a record- ager of RealTraps, handles the day-to- kill all the mids and highs like foam and duces native MXF audio handling ing of his own cello concerto, and also day operations of RealTraps outside of plain fiberglass. A real bass trap that that enables LMB to perform auto- written, produced, and recorded music the factory, including all customer service, actually works well at bass frequencies. mated analysis and correction of for clients including Blue Cross, Pitney- acoustics consultation, and marketing. And the rest, as they say, is history. audio in an MXF container while preserving all other data within the file. A highly versatile tool for post- production, film, and broadcast, New Loudspeaker System Marks LMB is typically used as part of a content-management workflow, Lipinski 10th Anniversary as a stage of QC to check compli- ance of incoming content from Lipinski Sound is at Booth 2562 cel- SQUARE, is unique in that at no point finest recording and mastering facilities third parties, or as a routine way of ebrating its 10th anniversary at the does the audio signal pass through an in the world and trusted by some of the double-checking content when edi- 135th AES convention with the unveil- integrated circuit, condenser, coil, or most prestigious international univer- tors are using other loudness tools ing of a new self-powered and upgrad- transformer. The highly regarded 500 sity music programs. in the studio. Based on NUGEN able loudspeaker system. series Compresor, Mic-Pres and Equal- Says company founder Andrew Audio’s loudness monitoring and The revised L-707A family of moni- izer along with the L-600 replacement Lipinski: “If we are not convinced correction engine, LMB performs tors are the latest development in a power supply designed as an upgrade that our next design will surpass faster-than-real-time processing on series of loudspeakers starting with for the API 500VPR are also featured. everything on the market, we will batches of files, saving time and pre- the original L-707. Products based on Lipinski Sound has established its simply not manufacture it. Our back- venting human error. For stream- Lipinski Sound’s proprietary class A reputation by building first class analog ground lies in perfection, and a need lined processing of video, LMB opamps will also be on display. The audio gear since 2003. Its loudspeakers for perfect tools to do our own refer- automatically examines video files discrete design, simply called Lipinski are used as reference monitors in the ence recordings.” to analyze audio content without changing the original files. LMB’s drag-and-drop interface and Watched Folders automate the pro- BeStar Components are Everywhere cess of checking and conforming files to multiple broadcast criteria, From medical devices to notebooks to sound it could be BeStar Acoustics; if it horns, sounders, bells, panel mounts, and optional command-line opera- heavy-duty trucks, washers/dryers, cell doesn’t make a sound, it could be BeStar etc., check BeStar’s online catalog. tion allows for full integration into phones, safety systems, passenger cars, Ultrasonics. The world of electronic acoustic com- existing asset management systems Bluetooth, VoIP, BeStar Acoustic Com- Since the development of Acoustic ponents is constantly evolving. Some of and procedures. ponents (Booth 3046) are found in every User Interface took off, BeStar, located the key differences that separate BeStar space. If it makes a sound, or receives a in Changzhou,China, has been keeping from its competitors include: pace with its customers’ unique require- BeStar is the manufacturer; you’ll ments. In the course of it all, BeStar has know where and how it was made. developed hundreds of audio compo- BeStar meets all global quality sys- nent solutions. So if you need simple tems standards including environmen- alert tones, precise voice or high fidel- tal ISO14001. ity music reproduction, loudspeakers, BeStar is an engineered products electret condenser microphones, back company, not an importer or broker; up alarms, ultrasonic sensors, piezo it can be your center of expertise for buzzers, transducers, indicators, alarms, acoustics. Mogami Features Gold Instrument Silent Series Mogami Cable’s (Booth 2633) Gold Instrument Silent Series Cable is offered with either straight or 90-degree angle Neutrik Silent Plugs. The Neutrik Silent Plug allows hot-swapping guitars without the earsplitting pop or risk of blown speakers. Previously, the silent plugs were available only on Mogami Platinum level instrument cables. Now Gold Instrument Cable users can enjoy the convenience of “silent swapping” on stage or in studio. The Neutrik Silent Plugs have an internal switch that automatically silences the cable until it is connected. Combined with MOGAMI’s signature noise-free cable, Silent Plugs ensure that the only sound coming from the cables is made by the instruments. preview the AES DAILY october 26-29, 2012 moscone center san francisco, ca vip edition Serving the 133rd AES Convention 23

Equator Showcases New D8 At Lundahl, Real Coax Studio Monitors Transformers Proliferate Lundahl Transformers (Booth 3153) former design and an ability to offer Equator Audio’s (Booth 3048) control; a 3 alternate voice bound- delivers transformers to pro audio design variation and completely new new D8 (Direct 8) coaxial studio ary selection switch; an all wood industries in most European countries, designs upon customer requests. monitors are the next step in the D cabinet, including a wood front Japan, Australia, HongKong and the Lars Lundahl, M.Sc. in electrical Series line. Geared for the record- baffle for optimum performance; U.S. The Lundahl transformer can engineering, and his wife Gunnel Lun- ing professional, the D8 delivers a fully extended 2.5-inch perfectly be found in the majority of Europe’s dahl founded the company in their the crystal clear mid-range detail tuned front port, providing supe- music and radio stations. garage in 1958. No longer active in first presented by the D5s but with rior and accurate extended low-end The company’s standard range the company, Lars still spends most higher SP and much bigger bass response. And because the port is of audio transformers is continually of his days in the factory developing response. Focused attention was on the front baffle, the D8’s can be growing and presents different types of spot welding equipment. Gunnel, on paid to the development details to positioned close to a wall with no audio input and output transformers. the other hand, is still active in sev- ensure that they deliver profession- fear of the low-end being choked. It also includes hybrid transformers, eral roles, mostly in production plan- al sonic performance. These stu- The coaxial transducer design of pulse tranformers (for digital audio) ning and shipping. Managing direc- dio monitors feature an expensive the system incorporates a steep 4th and transformers for high-end audio- tor is Per Lundahl, M.Sc. in applied coaxially designed transducer with order crossover along with a newly phile equipment such as tube and solid- physics. Before joining his parents’ an eight-inch woofer and a one- applied DSP aided group delay filter state amplifiers, preamps, phono stages company, Per worked in several R&D inch silk tweeter. The frequency in order to deliver a phase accu- and more. In addition to audio appli- departments for private Swedish response is 44hz to 20khz. The rate detailed mid-range with unob- cations, Lundahl manufactures trans- industry. D8s cutting edge digital amplifier structed clarity in that complex formers for video (CCTV) applications. Lundahl Transformers has shown provides extremely low distortion 900Hz-3 kHz range. Guitars, voices, In order to realize its transformer profit every year for the past 40 years, with plenty of punch. The internal strings, horns, & reverb trails are design philosophies, almost all the making controlled growth possible. DSP allows for intricate pinpoint very clearly and accurately por- machinery used in the factory has been The company employs about 30 per- accurate adjustments. The D8 was trayed and any mid-range anomalies developed and built by Lundahl’s own sons and is located in a wholly owned designed specifically to deliver a in the source material can be easily engineers. Lundhal also has developed factory in Norrtälje. This popular sea- much bigger sound while maintain- determined and addressed. Because its own PC-based software for trans- side resort is located 45 minutes north ing the extreme level of detail that of our matched transducer output, former winding and other machines. of Stockholm’s international airport the D5 has been proven to provide. mid-range mix elements can be posi- All of that results in freedom of trans- Arlanda. The D8 studio monitors have pro tioned in the stereo field without features: balanced XLR and bal- the fear of being misplaced. The D8 anced/unbalanced TRS inputs; a represents the next step forward in calibrated stepped level sensitivity detailed clarity.

AnaMod Highlights Signal Processor Line

AnaMod is at Booth 2944 demon- ly from transformers, the A9031 Mic strating its entire line of signal pro- Preamp, an exact copy of the vintage cessors, created using the AnaMod Dick Swettenham Helios design, as Process, which uses precise mathe- modified and used by Lenny Kravitz matical models to synthesize analog and Henry Hirsch, and the new hardware. Unlike digital plug-ins or A9052 EQ. processor-based outboard gear, there The A9052 provides extremely is no latency and no A/D or D/A con- musical high and low shelving versions to compromise the sound. bands, two mid/low frequency bands Products on display include the of equalization as well as a two posi- ATS-1 Analog Tape Simulator, tion high-pass filter. The equaliza- which models the behavior of spe- tion points chosen provide instant cific tape machines and tape formu- control over musical timbre. lations using analog hardware, and An addition to the original three- the AM660 and AM670 Limiters, transistor makeup gain stage is a which are recreations of the classic class-A transistor output stage that Fairchild limiters, and the XF Tube will drive the most demanding of Transformer and Tube Simulator. loads. Also included is a step-down Also on display is the Realios prod- input transformer and step-up out- uct line (distributed by AnaMod), put transformer, which provides 6 including the TLCompressor, which dB greater headroom than the 500 uses a tungsten lamp as the gain series voltage rails would normal- reduction element, theA9033 Mic ly allow (see the output level spec Preamp, which derives its gain strict- below).

NewsFrom

Bruel & Kjaer Bruel & Kjaer, building on 70 years of providing the benchmark in acoustical and audio test equipment, is at Booth 2847 showing its latest Precision Sound Level Meters and software for room acoustics and environmental noise measurements. october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 24 Serving the 135th AES Convention edition vip special | events

2:30 p.m.-4:30 p.m. spective has enabled their careers to flour- THURSDAY, OCTOBER 17 PLATINUM ENGINEERS ish. Moderator: David Weiss, SonicScoop. Participants will discuss the creative Panelists: Jeff Jones, ROBOPOP, Dave 1 p.m.-2 p.m. recording and mixing techniques they’ve Tozer Opening Ceremonies developed, playing samples of their work 12:15 p.m.-1:15 p.m. Awards to illustrate some of the most successful LUNCHTIME KEYNOTE: RESTORING collaborations. Moderator: Justin Colletti, PEGGY LEE’S CAPITOL RECORDS ALBUM Presenters: SonicScoop, Brooklyn, NY; Trust Me, I’m ‘JUMP FOR JOY’ Bob Moses, AES—Vashon Island, WA a Scientist. Panelists: Chris Coady, Patrick Jump for Joy, featuring Peggy Lee and Jim Anderson, New York University, New Dillet, Manny Marroquin. arranged by Nelson Riddle, was one of the York, NY first records released by Capitol as a stereo Keynote Speech 2:30 p.m.-5:30 p.m. LP. The year was 1959, the year the label THE SOUND OF THE CLOUD: AUDIO Keynote speaker: first made stereo LPs available to the public, IMPLICATIONS OF MULTI-PLATFORM but this seminal album was never released in Josh McDermott, Department of Brain and DELIVERY stereo on CD, only in mono. An assignment Cognitive Sciences, MIT. The forum is intended to explore the to master the original stereo mixes for digital The topic of his speech is, “Understanding opportunities and challenges presented by release led to the discovery of a 54-year old Audition via Sound Synthesis.” advanced encoding schemes and to debate audio mystery. Had something gone awry whether ubiquitous mobile and over-the- at the original stereo mix date? This special 5 p.m.-7 p.m. top content delivery demands a retrench- event uses photos and high-resolution trans- PRODUCING ACROSS GENERATIONS: ment to more limited audio or could lead to fers of original session material to detail a NEW CHALLENGES, NEW SOLUTIONS— further audio advances. surprising finding and the steps that were MAKING RECORDS FOR NEXT TO NOTH- ING IN THE 21ST CENTURY 5:30-7 p.m. taken to reach back in time to restore the INSIDE ABBEY ROAD 1967—PHOTOS album for today’s audience as it was intend- Budgets are small, retail is dying, studios are FROM THE SGT. PEPPER SESSIONS ed to heard. Presenter: Alan Silverman, Arf! closing, fed up audiences are taking music Mastering. New York, NY/NYU|Steinhardt Allan Kozinn, noted Beatles expert and NY at will… yet devoted music professionals Dept.of Music Technology continue to make records for a living. How Times music critic, will moderate this panel, are they doing it? How are they getting which shows a behind-the-scenes look at paid? What type of contracts are they com- EMI/Abbey Road studios during the mak- 2:30 p.m.-4 p.m. GRAMMY SOUNDTABLE manding? In a world where the “record” has ing of the Beatles’ landmark Sgt. Pepper’s become an artists’ business card, how will Lonely Hearts Club Band. Famed Beatles This educational and inspirational career the producer and mixer derive participatory photographer Henry Grossman visited the retrospective will delve into the music, income? Are studio professionals being left sessions where he took several hundred pho- creativity, and vision of legendary out of the so-called 360 deals? Let’s get a tos, many of which are still largely unseen. 14-time GRAMMY Award winning pro- quality bunch of young rising producers and Henry will show photos and share memories ducer/engineer/technologist Phil Ramone. a handful of seasoned vets in a room and of that creative era. Brian Kehew (co-author For this retrospective we’ll go behind finally open the discussion about empower- of the acclaimed Recording the Beatles the scenes with colleagues, footage, and ment and controlling our own destiny. book) will illustrate key technical aspects friends for an analysis of the wisdom and found in Grossman’s photos. 7:15 p.m.-8 p.m. knowledge behind his achievements. Pre- HEYSER LECTURE senters: BJ Ramone, Elliot Scheiner 7 p.m.-9:30 p.m. The Richard C. Heyser distinguished ORGAN CONCERT lecturer for the 135th AES Ctonvention is 4:30 p.m.-6 p.m. George Massenburg Graham Blythe’s traditional organ concert BRUCE SWEDIEN: I HAVE NO SECRETS will be given at the Church of Saint Mary This Special Event showcases the mindset the Virgin, founded in 1868. of one of music’s most-important engi- FRIDAY, OCTOBER 18 neers—ever! Interviewed by author Bill 8:30 p.m.-10 p.m. Gibson, five-time GRAMMY winner 12:45 pm — 2:15 pm STORIES FOR THE EARS: LIVE AUDIO (13-time-nominee) Bruce Swedien gener- FROM THE MOTOR CITY TO BROADWAY: DRAMA AND NARRATION ously shares the depth of his technical and artistic insights, inspiring greatness in MAKING ‘MOTOWN THE MUSICAL’ CAST The HEAR Now Festival and SueMedia the musical application of technology in ALBUM Productions in conjunction with the Audio recording and production. Tracing the path taken by pop-R&B clas- Engineering Society (AES) presents an sics known the world over to the Broadway evening of live audio/radio drama along stage and the modern-day recording stu- with narrative readings celebrating the SUNDAY, OCTOBER 20 dio—and how cast albums get made with art of sonic storytelling. Hosted by Bob no time and no do-overs. Moderator: Harry Kaliban (CBS Mystery Theater) and Weinger, Ume. Panelists: Frank Filipetti, featuring performances by Audie Award 11 a.m.-1 p.m. Ethan Popp. winning and Golden Voice narrators Kath- THE STATE OF MASTERING—2013 1:15 p.m.-2:15 p.m. erine Kellgren, Robin Miles, and Barbara Moderator: Rosenblat, and the award winning NY- LUNCHTIME KEYNOTE: ON THE TRANS- Bob Ludwig, Gateway Mastering Studios, Inc., based audio drama troupe VoiceScapes MIGRATION OF SOULS Portland, ME Audio Theater. “On the Transmigration of Souls,” a multi- Grammy winning work for orchestra, cho- 12:30 p.m.-1:30 p.m. rus, children’s choir and pre-recorded tape, SATURDAY, OCTOBER 19 LUNCHTIME KEYNOTE: STUDIO OF THE is a composition by composer John Adams. FUTURE: 2020–2050 It was commissioned by the New York Phil- Presenter: John La Grou, Millennia Music harmonic and Lincoln Center’s Great Per- 11:30 a.m.-1:30 p.m. & Media Systems formers and Mr. Adams received the 2003 PLATINUM PRODUCERS A brief look at the evolution of audio Pulitzer Prize in music for the piece. Sur- Participants will explore the artistic sen- electronics, a theory of innovation, and a round Recording Engineer Michael Bishop sibilities they’ve nurtured, how they’ve sweeping vision for the next forty years of will discuss the surround production process expressed themselves in their work, and audio production technology. and play the work in its entirety. how that self-assurance and unique per- preview the AES DAILY october 17-20, 2013 jacob k. javits convention center new york, ny vip edition Serving the 135th AES Convention 25 technical | tours

2 p.m.-5 p.m. indie rock, jazz, classical and world music. The show also FRIDAY, OCTOBER 18 DEFINITION 6 airs on XM Satellite Radio Channel 133. The tour will Definition 6 is an award winning video and audio production feature the Jerome L. Greene Performance Space, which is 11 a.m.-2 p.m. house with facilities in New York City and Atlanta. Clients outfitted with cutting-edge digital audio and video produc- KAUFFMAN ASTORIA MUSIC & SOUND/THE MUSEUM include Adidas, Aflac, Coca-Cola, Facebook, GM, General tion systems that allow it to live as vibrantly in the virtual OF THE MOVING IMAGE Electric, HBO, and Kia—to name just a few. arena as it does in its physical home. Kauffman Astoria Music and Sound is a major New tYork City “Large Room” recording studio located in the famed Kaufman 2 p.m.-5 p.m. 4 p.m.-6 p.m. Astoria Film Studios. Originally built by Famous Players- WNYC FACILITIES AND ‘SOUNDCHECK’ BATTERY STUDIOS Lasky, known as Paramount Pictures after 1927, as their East WNYC is a non-profit, public radio station located in New Battery Studios is Sony Music Entertainment’s New Coast production facility in 1920, these studios were the site of York City, comprised of WNYC AM and FM and WQXR. York City-based music production and mastering facility. hundreds of silent and early sound era film productions. The The stations are members of NPR and are known for their Located in the former home of the legendary Record Plant Museum of the Moving Image advances the public understand- nationally syndicated news and culture programming and Recording Studios, Battery is part of a century-long tradi- ing and appreciation of the art, history, technique, and technol- Internet radio broadcasts. Soundcheck is a one-hour week- tion of elite New York music production facilities and com- ogy of film, television, and digital media. day talk show hosted by WNYC’s John Schaefer and is bines the old with the new by specializing in re-mastering, about music and the arts. Soundcheck features interviews mastering and audio restoration and digitization. This tour is limited to 35 people. Technical Tours are made available on a with musicians, critics, journalists, authors and it also fea- first come, first served basis. Tickets can tures live musical performances in mix of genres, including be purchased during normal registration hours at the convention center. student and career development | events

minds in the business. It’s also an invaluable 1 p.m.—2:15 p.m. THURSDAY, OCTOBER 17 career-building event and a great place for P.M.C Student Recording Critiques SUNDAY, OCTOBER 20 companies to identify their next employees. 2:15 p.m.—3:30 p.m. 5 p.m.—7 p.m. Noon—1:30 p.m. Opening and Student Delegate Student Delegate Assembly—Part 10:30 a.m.—Noon Recording Competition—Part 2 Assembly Meeting—Part 1 2 Student Design Exhibition The first Student Delegate Assembly (SDA) All accepted student entries to the AES 9:30 p.m.—11 p.m. meeting is the official opening of the Con- Student Design Competition will have the AES/SPARS Rockin’ Student Party 3p.m.—4 p.m. vention’s student program and a great oppor- P.M.C Student Recording Critiques opportunity to show off their designs at this tunity to meet with fellow students from all poster/tabletop exhibition. This audio sci- corners of the world. This opening meeting ence fair is free and open to all convention of the Student Delegate Assembly will intro- attendees and is an opportunity for aspiring duce new events and election proceedings, student hardware and software engineers to announce candidates for the coming year’s have their projects seen by the AES design election for the North & Latin American community. Regions Vice Chair, announce the finalists in the Student Recording Competition categories and the Student Design Competi- 3:00 p.m.—4 p.m. tion, and announce all upcoming student/ P.M.C Student Recording Critiques education related events of the convention. Students and student sections will be given 4 p.m.—6 p.m. the opportunity to introduce themselves and Recording Competition—Part 1 their activities, in order to stimulate international contacts. The SDA leaders will then lead a dialogue to discuss important issues SATURDAY, OCTOBER 19 significant to all college audio students.

9 a.m.—11 a.m. 3:30 p.m.—4:45 p.m. SPARS Speed Counseling with Education Forum Panel Experts—Mentoring Answers for Your Career This event is specially suited for students, FRIDAY, OCTOBER 18 recent graduates, young professionals, and those interested in career advice. Hosted by 9:00 a.m.—10:30 a.m. SPARS in cooperation with the AES Educa- Student Design Competition tion Committee and G.A.N.G., career related The three graduate level and three under- Q&A sessions will be offered to participants graduate level finalists of the AES Student in a speed group mentoring format. A dozen Design Competition will present and defend students will interact with 4–5 working their designs in front of a panel of expert professionals in specific audio engineering judges. This is an opportunity for aspiring fields or categories every 20 minutes. student hardware and software engineers 11 a.m.—12:30 p.m. to have their projects reviewed by the best Education and Career/Job Fair

For more information, visit the AES website at www.aes.org/events/ 135/students/ october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 26 Serving the 135th AES Convention edition vip

Audiokinetic To Deploy Auro’s NTI Shows AuroWwise Suite Audio Test Game audio specialist Audiokinetic nologies efforts will allow game devel- “I was blown away by the Auro- Inc. has selected Auro Technologies’ opers to now use a single set of tools 3D cinema audio experience, and we Products (Booth3041) Auro-3D technology to create multiple output formats of are very proud to continue our com- suite to deploy its immersive interac- the same game at the same time. The mitment to game audio innovation NTI is at Booth 2549 exhibiting tive media and gaming sound product, AuroWwise suite supports immersive and we look forward to hearing new its complete line of handheld and AuroWwise. Audiokinetic’s decision 3D sound for interactive media and revolutionary sound design from our engineering/production audio test demonstrates its unwavering support of games, all while preserving functional- Wwise user community in new upcom- products, featuring the XL2 audio/ Auro-3D as the de facto cinema stan- ity according to the tried-and-trusted ing game titles.” says Jacques Deveau, acoustics analyzer now available dard, and will also provide the highest workflow of Wwise. Audiokinetic VP, sales & business. with new Class 1 microphone choic- quality immersive 3D audio experience Immersive multi-channel 3D audio “The interactive media and gaming es M2211 and M2230, and many possible, now and moving forward. was the logical next step for Audioki- community has always been important options including a SLM Type Its commitment to integrate Auro-3D netic in creating the ultimate gaming to Auro Technologies,” says Wilfried Acceptance equipment package; into Wwise will help drive adoption experience. “Auro-3D provides an excel- Van Baelen, founder/CEO, Auro Tech- 1/6-1/12 8va Spectral Limits option; of the immersive multi-channel 3D lent complement to Wwise by offering nologies. “By partnering with Audio- Cinema Meter option and others. audio format to playing back immer- a truly unique immersive experience, kinetic, we are very pleased to make Also on exhibit are the DR2- sive 3D sound in interactive media and as well as backward and forward com- the revolutionary Auro-3D technology DL1 handheld digital instruments gaming. Audiokinetic and Auro Tech- patibility with existing audio systems. and capabilities available to the Wwise and the FX100 lab and production Another critical element was the ease community. We are proud to help con- acoustics tester, featuring advanced and economy regarding both implemen- tribute to bringing true 3D sound into acoustics test methodology com- tation and operation,” says Audiokinetic interactive media and gaming.” says bined with leading edge audio test Latch founder/CEO Martin H. Klein. Van Baelen. performance. Lake Music New ANDIAMO Variants Ready at Direct Out DirectOut (Booth 3047) is a German channels of either analog to MADI Remote control is offered via USB, company specializing in professional or MADI to analog conversion for Serial over MADI or MIDI over Slides In audio products around the MADI those needing only one direction of MADI. The remote control software In the late 1980’s, guitarist Leo standard. Format and AD/DA con- conversion at a time. Both devices are “ANDIAMO Remote” provides access Kottke found that he could no lon- verters and microphone amplifiers equipped with redundant MADI ports to a routing matrix on a per channel ger get the French wine bottles from as well as MADI tools (such as a and two power supplies. basis (Matrix Mode) and to all system which he’d been making his guitar MADI headphone amplifier) are All features from ANDIAMO 2 settings. slides. It was only a matter of time developed, manufactured and dis- (such as remote control, internal rout- Three different modes offer indi- until his last glass slide broke. He tributed under the brand DirectOut ing matrix and superior sound quality) vidual handling of channel status data turned to his long time friend (and Technologies. are included. throughout AES and MADI ports— former touring sound engineer) Jeff Derived from the acclaimed The company also is spotlight- for pass-through of third-party control Roberts for help. ANDIAMO 2, DirectOut now offers ing D.O.TEC ANDIAMO.AES, a data or analysis purposes. Jeff’s family business had exten- unidirectional versions of the high- 64-channel AES/MADI converter The device is also available as sive metalworking capabilities, and end MADI converters. D.O.TEC with integrated routing matrix. The D.O.TEC ANDIAMO.AES SRC with Leo wanted to explore the possi- ANDIAMO 2.AD and D.O.TEC 2RU device comes with redundant sample rate converters on 16 of the 32 bility of developing a metal slide ANDIAMO 2.DA. These provide 32 MADI ports and two power supplies. AES inputs. that had the right shape and sound, and wouldn’t break on the way to the stage. Six months later, Jeff and Leo came up with a prototype that had the right shape. After two more years they found a brass alloy that, Product Design Track Balances to Leo’s ear actually had a better sound than glass. Thus, the patent- Technology & Marketing ed AcoustaGlide guitar slide (along with Latch Lake Music Products, An increasingly popular AES event convention, and we’ve adapt to new realities as Booth 2556) was born. focused on pro audio products, the made it that much more the industry changes.” Over the years, Latch Lake’s Product Design Track (taking place all interesting this year with The Product Design line of guitar slides has grown. four days of the convention), assem- the inclusion of the prod- Track gives design pro- Whether you’re a beginner or a liv- bled and moderated by Dan Foley, uct branding seminar,” fessionals insight into ing legend, click to our Slide Shop director of European sales for Audio states Dan Foley. “The the latest techniques for and you’ll find one that’s right for Precision, will focus broadly on prod- overarching theme is all audio hardware and soft- you. But that’s just the first chap- uct design, with an emphasis on sys- about product develop- ware development. The ter in the Latch Lake story. In early tem-performance measurement. New ment, but this year it events in this track are 2002, Latch Lake released what is for this year is a special presentation has a timely focus on very practical in nature now known as the micKing 3300, on the importance of properly brand- performance measure- and anyone involved in accompanied by the Xtra Boom. The ing and marketing new professional ment, coming as it does audio product develop- 3300 is Latch Lake’s largest micK- audio products. Presented by noted at the same time that the ment will benefit from ing boom stand, capable of reaching industrial designer Adrian Weidmann, CALM Act [Federal leg- attending. A partial list Dan Foley over 21 feet high—the ultimate large “The Power of the Brand” will define islation that tightly regu- of sessions includes: Best room stand. The Xtra Boom is the the meaning of branding and explore lates the relative level of broadcast com- Practices in Audio Software Develop- perfect space saver when more than its power and importance for the commercials] takes effect. But the inclusion ment; High-Order Harmonic Distortion one microphone is needed in one mercial success of product develop- of the product branding presentation is Measurement and Its Impact on Fidel- place. Latch Lake also offers Jam ment and service, be it a microphone, completely new, never before done at ity; An Introduction To the Acoustics of Nuts big enough to keep a micro- audio processing software, or a record- an AES convention. So we’re balancing Personal Telecommunications Devices; phone in one place. Oversized for ing studio. As Weidmann states, “Cre- our technical presentations with this one The Power of the Brand. easy grip, Jam Nuts feature standard ating, defining and maintaining your that really brings out the importance Confirmed sponsors for the Product 5/8-27 threads, are case hardened brand and its message may be the most of properly presenting new products to Design Track include THAT Corpo- and available in black or chrome. important ‘product’ you ever develop.” the market. I believe this shows how the ration Audio Technology and Audio “This is a unique track for the AES AES convention continues to evolve and Precision. preview the AES DAILY october 17-20, 2013 jacob k. javits convention center new york, ny vip edition Serving the 135th AES Convention 27

iZotope Launches Nectar 2 Plug-In NewsFrom

iZotope Inc. (Pod) is launching the Tools 11), RTAS/AudioSuite (Pro TruNorth next version of its award-winning Tools 7.4-10), VST, VST 3, and vocal processing technology, Nec- Audio Unit. TruNorth Music & Sound (Booth tar. Coming in October, Nectar 2 will Key features include: add har- 3058), a wholesale distributor of bring the best of digital innovation monies to vocal tracks with the musical instruments and profes- and analog character into a complete new Harmonizer. Play with intel- sional audio products to the retail set of tools specifically for voice. ligent automatic settings or define channel, has a simple mission: to “We were excited to revisit what your own with a MIDI control- serve a small number of select man- made Nectar so ideal as a vocal pro- ler.; add space and character to ufacturers well, and to help deliver cessing plug-in,” says iZotope prod- vocals with the EMT 140-modeled each brand to its full sales poten- uct manager Brett Bunting. “We’ve Plate Reverb module, featuring a tial in the North American market. spent a lot of development time unique saturation control to emu- TruNorth accomplishes this by first incorporating new ideas designed late the original plate’s preamp; considering the individual needs of with our users in mind. Nectar 2 finesse vocal takes quickly with each manufacturer it represents and users won’t believe how quickly iZotope’s Nectar 2 vocal processing the new Pitch Editor and Breath then customizing a marketing and they’ll be able to recreate classic plug-in Control plug-ins; explore seven sales approach that will work best vocal sounds or invent brand new new creative effects in the new FX for that brand. TruNorth pledges ones.” editing, transform a single vocal take module; dive in with a streamlined to focus on creating success for its With Nectar 2, add character to into a harmonized ensemble, and Overview panel for simple adjust- vendor partners by acting as an exten- tracks with modeled plate reverb, har- much more. ments and added metering for visual sion of those brands in its markets. Its monic saturation, and new creative Nectar 2 can be used as plug-ins in feedback; choose from 150+ new pre- commitment to the lines it represent effects. Stay in tune, remove distract- your favorite host. Supported plug- sets in styles that range from classic to transcends the role that traditional ing breaths without the need for audio in formats include 64-bit AAX (Pro modern. foreign distributors normally play.

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To advertise in classifieds, contact Doug Ausejo at (650) 238-0298 or [email protected] Stay One Step Ahead with NewBay Media’s FREE Electronic Newsletters Located just 45 minutes from Manhattan, this former famous recording studio has been totally renovated and restored into an 8700 sq. ft. home on a secluded 4.9 acres in the Ramapo All Entertainment Technology Topics Covered Mountains foothills. Private estate backing to 52,000 acres of state parkland. Visit our website: www.BearTracksEstate.com One-Stop Shopping: Simply visit www.nbmedia.com and click on the “Email Newsletters” link. Then choose as many newsletters you need. Deborah Graske, Broker Associate , E-Pro® C: 201-679-4075, O: 201-447-6600 x 308 FREE! Sign-up today by visiting www.nbmedia.com [email protected] october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 28 Serving the 135th AES Convention edition vip

Zynaptiq Acquires Prosoniq A Lindell Products, Technologies DAC To

Zynaptiq GmbH, distributed in North more technologies and tools for appli- “We are happy to consolidate Rule Them America by Eleven Dimensions Media cations including image decomposition, Prosoniq’s 20+ years worth of research (Booth 2557) has acquired Prosoniq’s phoneme recognition, structural audio and development into Zynaptiq, giving complete IP, including the company’s information retrieval and rendering, these great products and technologies All current and past product line, technol- and more. a new home,” adds Stephan Bernsee, Lindell Audio (Booth 3249) says it ogies, patent rights, research data and Today Prosoniq is best known for: CTO at Zynaptiq. “This allows for has a DAC to rule them all. Does license contracts, effective March 1st, Time Factory time-stretching and the creation of even more cutting edge the world need another DAC? Yes. 2014. Zynaptiq will continue to offer pitch-shifting batch processor; sonic- products and extending into new fields, Does it work with Pro Tools? Yes. the current line of Prosoniq products. WORX Isolate voice extraction/sup- and our users will greatly benefit from Does it make your iPad sound bet- Founded in 1990, Prosoniq has been pression and spectral editing applica- this consolidation in the near future”. ter? Yes. Does it sound better than crucial in providing key technologies to tion; Orange Vocoder classic vocoder Zynaptiq GmbH, based in Han- anything else? Yes. many companies in the media technol- plug-in; Morph real-time audio morph- nover, Germany, creates audio soft- The Lindell Audio DACX is an ogy industry, including Quantel, Emag- ing plug-in; NAS synthesis engine as ware based on artificial intelligence extremely high end digital to analog ic, Steinberg and Cakewalk. Proso- used in the Hartmann technology, and is known for its converter. Sporting only the best niq pioneered in the field of applying Synthesizer. award-winning de-reverberation and parts available on the market today. Artificial Neural Networks to audio “We’re thrilled to add these soft- frequency response linearization plug- Made for the demanding engineers processing, voice removal, structural ware gems to our portfolio of cutting- ins UNVEIL and UNFILTER, as well who wants the highest possible reso- audio morphing and polyphonic time edge technologies and award-winning as the real-time polyphonic pitch pro- lution and sound quality coming out stretching with formant correction, and products,” says Zynaptiq CEO Denis cessing plug-in PITCHMAP. of the DAW. has researched and developed many Goekdag. What sets the DACX apart from everyone else is the sheer insane amount of engineering that has gone into the power supply and output Avalanche Warning at Unity Audio stage! Some other boxes uses the AK4397 da-chip too, but no one Unity Audio’s (Booth 3147) Avalanche Hz) as if the relatively small enclosure powers it like the way we do. active subwoofer is primarily designed has a larger volume. The DACX adopts four pieces to complement the company’s exist- Amplification is by two highly of low magnetic flux leakage power ing Rock & Boulder models, seam- respected and proven Rock/Boulder transformer in total 24 group inde- lessly transforming them into 3-way, low frequency amplifiers running in pendent power supply cells, in order and 4-way systems respectively. It can parallel giving a total power of 150 to decrease the crossover distortion or also be used with other manufacturers RWNBSW. These are mounted with interference of different circuit system. monitors and is shipping now. the output transformers onto a heat The Dual Output Stage let’s the Like the Rock & Boulder, The Ava- sink isolated via rubber anti-vibration user select “Tube” or “Opamp” for lanche is a sealed cabinet maintain- mounts. Burr Brown ICs are used flavouring. Use the clean opamp ing fast detailed transients and accu- throughout the custom input crossover, stage when using the DACX in rate bass reproduction. Internally with the Burr Brown OPA627 op amp your monitor chain. And try out the cabinet is split into two chambers specified to maintain signal integrity the Tube output stage if you use the with a dividing bracing partition and and the highest audio quality possible DACX in your mastering DA chain. restrictive membrane feeding the sec- in critical audio paths. The DACX features dual AES/ ond chamber. The cabinet is extremely For teaming up with the Rock or EBU inputs, Coax SP/DIF, Optical robust built from 24mm ply, with a Boulder, two factory presets are pro- SP/DIF and USB audio. The select- laminated baffle some 42mm thick. vided for each model, the R60 is for able upsampling feature let’s you Internal damping is achieved with a The Rock, setting the crossover at Unity Audio’s Avalanche active set the output sample rate to taste: dense rubber lead substitute attached 60Hz, while the Boulder B50 preset subwoofer 24/96, 32/96, 24/192, 32/192. to the walls, thereby reducing cabinet sets it at 50Hz. If situations like acous- resonance. tics, positioning or personal preference The Avalanche has a 12-inch down- dictates something other than the pre- ward firing woofer keeping a low center sets provided, then both Low & High Granelli Showcases G5790 of gravity, thus reducing vibration and pass filters can be set independently in movement. Our Aperiodic Vent enables Vari Mode. Both High and Low ranges Right-Angle Mic extended low frequency (down to 22 from 40Hz-120Hz. The G5790 is a real SM57 modified to patented design manages to change turn 90 degrees. Granelli Audio Labs the shape of this chamber without brings Prism Sound to a new audience. (Booth 2554) uses brand new Shure increasing the air volume. That is crit- A Rich The MASELEC line of excep- SM57s and inserts a custom-made ical to keeping the sound that engi- tionally fine outboard will be heavily aluminum part with an acoustically neers know and trust. Granelli did Showcase of featured too, including a revision or engineered internal sound path. The not adjust the frequency response, two here as well. The recent SADiE result is a microphone that maintains alter the pickup pattern, or change Prism Media 6 DAW 64-bit edition will be avail- the SM57’s renowned durability and any other components inside the able to test drive. This latest develop- familiar tone while increasing func- microphone. It’s still the mic engi- Products ment builds on SADiE’s heritage as tionality. neers love, with the mod it’s always the leading choice for mastering, radio The G5790 gives engineers more needed. As well as the Lyras that started ship- broadcast and other critical music options when miking crowded drum The part Granelli has added is ping earlier this year there will be at editing applications. Also featured: kits, allowing them to choose a posi- machined out of a solid block of alu- least one more new product on dis- the dScope Series IIIE Audio Ana- tion that minimizes unwanted bleed minum and then threaded into the play from Prism Sound (Booth 3032). lyzer system with the new “Essentials” and does not obstruct the drummer. original microphone’s body. Its modi- The Lyras are found in top mastering feature pack provides comprehensive It also creates a neater appearance fications are done by hand without facilities to garage studios. Featuring analog and digital test capability at an and takes up much less space on stage the use of power tools, welding, or 192k performance, stereo mic/line/inst affordable price. All dScope models when miking speaker cabinets, percus- any other process that may harm the inputs, up to four balanced line out- can now run the new “Easy Automa- sion, and a number of other sources. original microphone. Each unit is puts, digital I/O, app with zero-latency tion” app enabling script-free genera- Inside the handle of the SM57 is individually tested after modification, monitoring and hassle free USB host tion of automated test sequences with a small acoustic chamber that affects and guaranteed by Granelli’s two- interface, the competitively priced Lyra auto html and excel report generation. the tone of the microphone. Our year warranty.

october 17-20, 2013 jacob k. javits convention center new york, ny the AES DAILY preview 30 Serving the 135th AES Convention edition vip

PSS Opens New Orleans AIR Music Tech Features Office Ignite v1.2 AIR Music Technology (Pod) is featur- line graphics have been updated, and Professional Sound Services’ (Booth events. Production companies looking ing Version 1.2 of its new Ignite music other workflow enhancements have been 2956) new office in New Orleans, LA, for a sound mixer can also make use of creation software. Offering an entire- added to advance the user experience. is helping rebuild the sound of New these events to scout for a crew. ly unique approach to making music “The response so far has been tre- Orleans, one mixer at a time. The com- The New Orleans, LA, office of Pro- with computers, Ignite v1.2 adds over mendous, with over 25,000 users hav- pany is doing this by providing sound fessional Sound Services is located at a dozen features and enhancements, ing already downloaded Ignite. We’ve mixers with a one-stop shop for audio 1515 South Salcedo Street, Suite #130. while delivering seamless integration been getting a steady flow of feedback, equipment in the Bayou area, as well The new location provides the same out- with a growing list of top-name control- some of which we have already used to as hosting educational lectures. Any standing technical support in sales, ser- ler hardware from Alesis, AKAI profes- drive the improvements in Version 1.1 job, big or small, Professional Sound vice and rental as the New York office. sional, and M-Audio. and 1.2. Customers have started to post Services is committed to helping mixers “We are excited about our new Ignite provides an original and musi- and share music they have created using every step of the way during a pro- New Orleans, LA office location,” cian-centric way to craft music. Free Ignite,” says Samara Winterfeld, prin- duction. An experienced staff, lead by says Rich Topham Jr., founder and of the constraints of traditional DAW cipal product manager for AIR Music the accomplished sound mixer Richard president of Professional Sound Ser- software, Ignite allows musical ideas Technology. “We are thrilled with the Van Dyke, has been in the field before, vices, “It is representative of our to be quickly captured, combined, and response Ignite has received from our and knows what it takes to get the job growing business, and our commit- arranged—with professional results. M-Audio customers and are equally done right. ment to our client base.” Topham With Ignite v1.2, improvements have excited to bring the same level of inte- Professional Sound Services is help- adds: “This new office in conjunction been made to the intuitive graphic inter- gration to Akai and Alesis customers.” ing mixers network with each other with our New York office puts us face. The Arranger screen now makes it From day one, Ignite has offered to form new bonds and share indus- in front of our clients and lets them simple to duplicate ideas (called Clips), seamless integration with M-Audio try knowledge at its Free Food Friday know we are available, 24/7.” encouraging experimentation. The time- keyboard controllers, eliminating any time-consuming mapping and set-up chores. Ignite v1.2 now supports 12 popular Alesis and AKAI Professional Inward Connections keyboard controllers with this same plug-and-play integration, meaning that the vast majority of people using Features TSL-4 Vac Rac keyboard controllers now have full Nearly two decades ago, Inward Con- TSL series was born. access to Ignite—for free. Ignite sup- nections (Booth 3126) created the The Inward Connections TSL-4 Vac ported keyboards now include: TLM-1 (Tube Limiter Module) for Rac is the latest incarnation of this clas- their Vac Rac modular processing sys- sic design. It adds new features without continued tem. The TLM-1 was highly favored altering the sonic signature engineers events | from page 1 by many of the world’s top record- have come to revere: Smooth limiting ing engineers and when the modular presented with the euphonic character Inward Connections’ TSL-4 Vac Technology’s impact on the future Vac Rac was discontinued, the TLM-1 and warmth of tubes. If you want to Rac of recorded sound will be explored in topology found life as a new stand- control the transients of vocals, guitars, a whole bunch of controls, the TSL-4 a variety of Special Events. Sunday’s alone, dual-channel unit. Thus, the bass or the mix bus, without tweaking is exactly what you’ve been looking for. Lunchtime Keynote will hang out in the “Studio of the Future: 2020- 2050,” making some informed pre- dictions on what pro audio’s future Golden Age Project Shows EQ-81 Neve Style EQ will look like. What will happen to that futuristic studio’s output? The Among the plethora of setting. The control range answer may be found at “The Sound products in the spotlight at is +/- 18dB. All four bands Of The Cloud: Audio Implications Golden Age Project (Booth can be set in an off mode. Of Multi-Platform Delivery,” (Fri., 3249) is the Golden Age The EQ-81 is not intended Oct. 18, 2:30 p.m.), which will look at Project EQ-81 Neve Style to be used as a standalone everything from whether mobile con- Equalizer. The class-AB Golden Age’s Project EQ-81 Neve Style Equalizer EQ. It is designed to be tent delivery will be a step forwards circuit used in the EQ-81 used together with one of or back for audio quality, to what is similar to the EQ section in the now available at a surprisingly low the Golden Age Project models that the expansion of mobile delivery will classical 1081 module, without the cost, making it available to nearly has an insert jack. It can also be used mean for others sharing the broad- high and low pass filters. The sound everyone. with some other product that has a cast spectrum. character is warm, punchy, sweet The EQ-81 has stepped frequency low level (about -18 dBu to -10 dBu) If the future sounds a little over- and musical. These classic character- controls that offers a wide selection of unbalanced insert connector. Combin- whelming, it’s good to remember istics have been heard on countless frequencies from 33 Hz to 15 kHz. The ing one of our PRE-73 units and an that it has always seemed that way, recordings through the years and it is BASS and TREBLE frequency bands EQ-81 and using a UNITE rack kit so there’s plenty to learn and be a versatile sound that works very well are switchable between shelving and to mount them together, one will get encouraged from by discovering on most sound sources and in most bell and the MID frequency bands is a 19-inch 1081-style unit at a low cost how pros dealt with “the future” genres. The essence of this sound is of the bell type with a switchable Hi Q and with a great sound. in the past. Whether you want to learn techniques from the engineer behind Thriller at “Bruce Swedien: I Have No Secrets” (Sat, Oct. 19, continued will discuss listener fatigue and its purchase another company’s product. 4:30 p.m.); discover the wit and wis- talkin’ loud | from page 1 impact on listener retention. While The experts on this panel will discuss dom of the late Phil Ramone via his listener fatigue is an issue of interest their research and experiences with friends and family at the Grammy malization, an all-star panel (Oct. 19, to broadcasters, it is also increasingly listener fatigue and its impact on lis- Soundtable (Sat, Oct. 19, 2:30 p.m.); 5 p.m.) will analyze recorded music an issue of interest to telecommuni- tener retention. or learn how Capitol Records’ first fidelity of the past 50 years. As the cations service providers, consumer Video games are not immune from stereo LP was recently restored for program notes state: “In the new electronics manufacturers, music pro- wildly varying loudness, either. Garry release at Saturday’s Lunchtime realm, it’s futile to master music loud- ducers, and others. Fatigued listen- Taylor, audio director, Sony Computer Keynote, “Restoring Peggy Lee’s er than—16 LKFS.” ers to a broadcast program may tune Entertainment in the U.K., will be pre- Jump For Joy” (Sat, Oct. 19, 12:15 Examining the end result of all that out, while fatigued listeners to a cell senting the loudness recommendations p.m.), you’ll come away more loudness, the panel “Broadcast and phone conversation may switch to recently released by Sony’s Audio Stan- knowledgeable and inspired by the Streaming Media: Listener Fatigue another carrier, and fatigued listen- dards Working Group (Oct. 18, 11:45 tales of overcoming the technologi- and Retention,” (Oct. 17, 2:15 p.m.) ers to a portable media player may a.m.). cal limitations of their eras.