NEW YORK CITY — Bucking the trend of past shows, the 135th convention of the Audio Engineering Society, held from October 17 to 20, 2013 at the Javits Convention Center in New York City, was an overwhelming success on every level. After a disappointing turnout at last year’s show — that unfortunately coincided with Hurricane Sandy, which devastated parts of the East Coast and played havoc with air travelers throughout much of the country — AES rebounded this time with its highest attendance in five years, drawing some 18,453 registrants.
And that number was certainly reflected throughout the show, from the packed workshops and technical sessions (many of which focused on live sound topics) to the aisles of the exhibition floor. In fact, the latter were crowded with attendees every day and seemed to attract showgoers that were serious pros intent on checking out the latest gear.
The show still has a definite slant toward the recording crowd — for example, among the hundreds of professional audio exhibitors, no live sound speakers were displayed. Yet AES still offered lots of new product action for the sound reinforcement pro, including new digital consoles, a ton of innovative mic designs and plenty of other surprises. If you were there, you were treated to a delightful banquet of interesting product debuts; if not, we’ll present a few of the show highlights here and online at fohonline.com, including exclusive FOH-TV video demos of some products at fohonline.com/foh-tv.
Consoles Take Center Stage
From a sound reinforcement viewpoint, the most talked-about product at the show was the U.S. public debut of the LIVE console from Solid State Logic (solidstatelogic.com). Designed for both FOH and monitor duties, LIVE (which is now shipping) provides up to 976 inputs and outputs and 192 full processing audio paths at 96k Hz. All paths are easily user-configurable and can be allotted in any combination of channels, auxes, stems, groups and masters — depending on the needs of any show, with powerful automation and instantaneous reset.
JAY EASLEY DEMOS THE NEW SSL LIVE CONSOLE
A full range of SSL Stagebox I/O connects to the console via MADI or SSL’s Blacklight technology that carries up to 256 channels of bi-directional audio and control via a single optical connection. One of the popular features at AES was the fact that LIVE was set up with multitrack audio/video playback of a Peter Gabriel show, allowing showgoers to try their hand(s) at mixing a major concert event. Check the video demo at FOH-TV.
Also drawing crowds was Avid‘s new S3L live mixing/recording system (avid.com), which was unveiled earlier this year at InfoComm, but now it’s shipping. S3L essentially puts the punch of its VENUE series into a compact, scalable 16- to 48-input system running the familiar VENUE software, with AAX DSP plug-ins, remote I/O stage boxes and integrated Pro Tools recording.
SHELDON RADFORD GIVES A TOUR OF THE AVID S3L
Not to be outdone, Harman’s Soundcraft (soundcraft.com) ran continuous training sessions on its affordable Si Performer and Si Expression series of digital consoles (reviewed in the October, 2013 FRONT of HOUSE), with both novice and experienced users getting hands-on training and some insider techniques. Speaking of Harman, there was a lot of interest in the company’s AES announcement that it had acquired Duran Audio (duran-audio.com), the European loudspeaker manufacturer of the acclaimed AXYS sound reinforcement speakers and software-based directivity control technologies.
Recording
AES definitely has a “recording show” vibe, yet there were some interesting new products for live recording. JoeCo (joeco.co.uk) previewed its new BlackBox BBR1MP, which puts a 24-track, 24-bit/96kHz recorder with onboard mic/line preamps into a single-rack chassis. I/O’s are via D-Sub connectors and an optional XLR breakout panel is offered. In addition to multi-tracking, the system can also create a simultaneous stereo mixdown, with access to all parameters via an iPad app. Shipping is early 2014.
JOE BULL DEMOS THE NEW JOECO RECORDER
Perfect for those grab-and-go gigs, the PCM-D100 from Sony (pro.sony.com) is a high-resolution stereo recorder with built-in two-position (X-Y or wide) stereo mics, 32 GB of internal flash memory and a SD-XC card slot. Recording formats include linear PCM (at 192, 176.4, 96, 88.2, 48 and 44.1 kHz); DSD (2.8224 MHz) and MP3 (320 and128 kbps). List is $999.
Mics, Plenty of Mics
AES is always a good chance to check out new microphones, but this time, there seemed to be more new live sound mics than recording models at the show.
Audio-Technica‘s (audio-technica.com) BP894 MicroSet series is an innovative new design in headworn mics. The units have a subminiature cardioid capsule that can be rotated to point toward the user’s mouth, rather than the off-axis approach used in nearly every other headworn mic, with excellent outside noise rejection and exceptional gain-before-feedback. Shipping now, these are offered in black or beige colors in single- and double-ear versions, either hardwired (XLR), unterminated or with miniature connectors to fit most pro wireless transmitters.
MXL Microphones‘ (mxlmics.com) new CR77 puts an internally shock-mounted modern dynamic capsule into a vintage-looking black chrome body. Designed for onstage applications with a fun retro feel, the CR-77 is expected to be out by year-end, with $149 MAP pricing. I want one — or two!
Nashville-based Miktek Audio (miktekaudio.com) is now shipping its PM5 condenser and PM9 dynamic live vocal mics, which tout custom AMI output transformers.
Speaking of shipping, Lewitt Audio (lewitt-audio.com) is finally delivering its flagship MTP 840 (dynamic) and MTP 940 (condenser) vocal handhelds, which feature three-step high-pass filtering and onboard +6/+12 dB sensitivity boosting.
TOM SAILOR UNVEILS LEWITT AUDIO’S NEW LIVE MICS
Tis the season for new podium mics. New accessories from DPA Microphones (dpamicrophones.com) let users combine capsules from its d:dicate mic line to create new combinations for podium and other live sound applications. These include modular active flex gooseneck booms in several lengths and modular conectors with rear and side exi
Not to be outdone, Neumann (neumannusa.com) launched the TLM 107 large diaphragm condenser mic, which features five polar patterns, and switchable pad and high pass filters. The companies most affordable multipattern mic to date, at $1,699, the TLM 107 is affordable enough to show up on riders for some (non-thrash) stage tours.
Interfacing Reality
Waves Audio (waves.com) introduced the eMotion LV1 for FOH and monitor applications. Designed to integrate seamlessly with SoundGrid-compatible I/Os, the eMotion Mixer engine is powered by low-latency SoundGrid DSP Servers, with real-time Waves plug-in processing on every channel and support for multiple mixers, I/O boxes and SoundGrid DSP servers over a single network. The eMotion LV1 also provides hardware scalability using standard network components, Multi-Touch support, Windows/Mac compatibility and preset sharing across consoles and platforms.
Waves is also now shipping DiGiGrid MGB coaxial and MGO optical MADI Interfaces for its SoundGrid protocol. These compact units let users connect any MADI-enabled device into the power of the Waves SoundGrid networking/processing platform, so real-time/low-latency (0.8 ms) networking and processing is only an Ethernet cable away.
Focusrite (focusrite.com) was touting the benefits of its RedNet digital audio networking system, which offers a full range of break-in/break-out boxes for the Dante platform. The scalable, ultra-low latency system is fully interoperable with other Dante-enabled products. Besides Pro Tools|HD compatiblity, RedNet 6 also allows MADI-Dante interfacing between gear running at different sampling rates.
Speaking of MADI, DirectOut Technologies (directout.eu) showed a range of MADI interfacing products, including Andiamo analog/digital-to-MADI converters and a new D.O.TEC® EXBOX.BLDS MADI auto-changeover switch for mission-critical performance systems. It can automatically switch within one sample or changeovers can be manually or remotely triggered.
But analog is still with us. Neutrik‘s (neutrik.com) unveiled the next generation of its industry-standard Speakon connector, the NL2FX, which replaces the outgoing NL2FC connector. The new NL2FX offers significant improvements, including the proven latch mechanism and strain relief design of Neutrik’s popular STX series, higher power capability (40 amps per contact) and the ability to handle 12 AWG wire.
NEUTRIK UNVEILED THE NEXT-GEN SPEAKON CONNECTORS AT AES
Production Essentials
Triad-Orbit (triad-orbit.com) displayed its Advanced Mic Stand line, which simplify/enhance mic placement, letting users create a wide range of configurations and precision control from a selection of available stands, adapters, couplers, orbital booms with 360° to 220° rotation, dual/single-arm booms and more. The five-position ratcheting-leg tripod bases for up to 65° pitch allow easy placement near floor monitors and other stage obstacles.
Powered by 40mm neodymium drivers, the SRH1540 headphones from Shure (shure.com) have a closed-back design with tough aluminum alloy/carbon fiber construction, a wide response and include an extra cable, replacement ear pads and storage case.
The new K812PRO’s from AKG (akg.com) offer an oversized 53mm driver for the highest dynamic range ever in an AKG headphone. Copper-covered aluminum voice coil extends sounds beyond the limits of human hearing, hitting a full spectrum of frequencies.
Radial Engineering (radialeng.com) is constantly coming out with clever new products designed to make life easier for any audio pro. And at this AES, they didn’t disappoint. Housed in a direct-box sized chassis, the Relay Xo mic signal switcher converts an artist’s vocal mic (condenser or dynamic) into a talkback mic in order to communicate with system techs, monitor mixers or other band members. Relay Xo has a standard XLR-F mic input and two XLR-M outputs. Using a standard momentary switch (like a sustain pedal) the user can instantly re-route their mic from the P.A. feed to the intercom system. Brilliant!
A guitar tech’s dream, Radial’s JX62 is a six-input guitar switcher with two amplifier outputs, two DI outs and a tuner output in a rack enclosure. The JX62 features silent switching between any inputs, while recessed trim controls can set all the levels uniformly should the output from the guitars or wireless systems need adjustment. Other features include effects loop in/out jacks and a PFL (pre-fade listen) switch on each channel that routes to an onboard headphone amp.
PETER JANIS UNVEILS THE NEW RADIAL SW4 SWITCHER AT THE SHOW
Radial’s new SW4 multi-channel balanced audio signal switcher enables four input pairs to be switched individually (or linked together) to create stereo, tri-channel or quadraphonic switching. The SW4 can be configured to back up wireless mic systems, wireless guitars, stereo backing tracks or even switch or combine mixing consoles in a festival environment. An onboard headphone amp offers PFL monitoring of the main bus, the active source or the standby device, so for example, the tech can check a wireless mic before handing it off to the artist. Channel 1 also has a summing input switch allowing two sources to share the same output. Switching is via front panel or an optional JR-2 remote switch.
More to Come
All in all, AES NYC provided a lot of interesting items for the sound reinforcement pro. Meanwhile, the AES show makes a long-overdue return to sunny Southern California next year from October 9 to 12, 2014, at the Los Angeles Convention Center. Mark those calendars now!
