You can tell what part of the pro audio industry is healthy and what part is struggling pretty easily just by keeping your ears open to conversations around you at the Audio Engineering Society show. Over the past few years the phrase heard with increasing frequency went something like, "It was, of course, designed for the studio, but we are seeing lots of them used live." This phrase gets me on a couple of levels. First, I am filled with gratitude that I do not own a recording studio, and second, depending on who says it, that phrase is either illustrative of the direction we are heading in the live event audio field, or it is total marketing BS. Example: Yamaha's DM 2000 mixers were designed as production mixers for recording and perhaps some smaller broadcast operations, and they were as surprised as anyone else when nearly half of the units sold ended up in the live arena. On the other hand, a several-thousand-dollar mic that ships in a shock-mounted titanium case with a bodyguard won't be on any stage I am working. Sorry, but I still ask, "What happens when it gets dropped?" All that being said, where shows over the past few years have been centered on either speakers (line array) or consoles (of the digital variety) the emphasis changed a bit this time out. While there is still news on the line array front it is getting to be more about refinements than re-invention, and the big news on digital consoles this time around is that guys who don't have $1 million inventories are going to be able to afford good ones very soon. No, this time the big emphasis was on getting the signal from the console to the amps without another D/A conversion and huge coils of heavy copper.
While EtherSound made the loudest splash with the news of its adoption by an increasing number of gear-makers, including Yamaha and Peavey/Crest, there were audio networking/digital snake products being touted by at least a half-dozen other companies. While there is still no real standard on how to do it, it is increasingly obvious that the future is running on Cat5 or fiber, and the truck pack is going to get a bit easier with the big snakes getting left back at the shop. Who am I kidding? The extra room just means they'll add more lights to the show, and the last thing we need out there is squints with more gear.
Here are some of the highlights of AES San Francisco.
Let's get some of that transport stuff out of the way first. Like we said before, Ether- Sound continues to sign up big companies for its format, but some others are coming in under the radar. Included in that group are Aviom, which announced a deal with Innova- SON as well as a new chip that allows console makers to provide direct A-Net connectivity from the desk. The newest kids on the block were the Aussies over at Audinate (who more than one high-profile sound guy told us to make sure we checked out), whose Dante system can run over existing networks (including the Internet) and is compatible with standard Internet Protocols. That means audio can run over the network that your computers are on and can even be encrypted (sure to be an issue as digital delivery becomes more common).
Media Numerics' RockNet is a suite of products that combined can handle up to 99 devices comprising 160 audio channels that can be dropped to as many as 768 outputs. The nice part about this one is that if you understand a traditional analog active split you should have no problem "getting" RockNet, which was designed specifically for live-sound applications.
Meanwhile, DiGiCo announced an update to the D5 so extensive that it requires some new hardware as well as software. There is way too much to this update to give justice to here, but you will get things like expanded bussing and routing options, more and better FX and EQ as well as new snapshot features and monitoring functions. Rumor has it that next up for this British console will be a single RU box that will allow users to run Pro Tools and its plugins as an insert.
Introduced at AES, the new JBL Variable Line Array series has been measured at 105dB at 450 feet for the VLA601H in a six-unit array, with three directed towards the measuring position. That'll put some hair on your chest…
Designed for the install market, the VLA also allows for adjustment of horizontal coverage within the vertical array via six large-format horn-loaded modules with three horizontal horn coverage patterns (30, 60 and 90 degrees). Ted Leamy, vice president of installed sound at JBL, explained the VLA Series was built to address the need for high intelligibility, powerful high-impact sound, yet even coverage on a stadium-level scale.
Three standard-output versions of the VLA Series each feature three high-frequency drivers, two mid-frequency drivers and two low-frequency drivers. High-output versions each feature six high-frequency drivers, four mid-frequency drivers and two low-frequency drivers. In addition, JBL introduced the VLA Calculator software package, which allows system designers and consultants to mechanically and acoustically model VLA arrays of various sizes and shapes. The calculator also takes other factors like air temperature and air absorption into account.
The company with the best appetizers, hands-down (Or should we say hands-full? FOH Editor Bill Evans still has some aioli from the reception stuck in his beard), at AES was Yamaha. They set a full course for everyone. Ready for your fill?
The new LS9 console comes in three flavors: 16, 32 and 64 channel sizes. The console shares the same sound quality, built-in effects, EQ and dynamics processing as that of the M7CL console, not to mention an MP3 recorder on the 32 and 64 channel models. These boards had technical editor Mark Amundson openly drooling. (Or was that the prosciutto- wrapped asparagus?) Available now, LS9 series will replace the Yamaha GA series analog console. In what has to be a first in the industry, a major manufacturer is replacing an analog model-line with a digital model-line.
Another big announcement from Yamaha was the launch of the DSP5D, a DSP-expander for the PM5D digital sound reinforcement console. The DSP5D is essentially a PM5D without a control surface, shrunk into a 10RU box. It can be controlled via a PC running Yamaha Studio manager software, or used as an expansion to the PM5D console.
If used as an expander it will extend the PM5D to 96 mono plus 16 stereo input channels, including two additional card slots and effects and dynamics processing. A second DSP5D unit can be added to provide further expansion to 144 mono plus 24 stereo input channels. When used in conjunction with the new DCU5D Ethernet Audio Cascade Unit, the DSP5D can be set in a remote location and controlled from a PM5D up to 100 meters away via a Cat5 cable.
Yamaha also declared its intent to re-enter the professional amplifier market in a big way with the introduction of the two-ohm, Tn Series amps. The amps enters the market with three available models. The Tn5 delivers 2300W (stereo at four ohms) and 5000W at four ohms bridged; the Tn4 delivers 2000W (stereo at four ohms), 4400W in four ohms bridged mode; the Tn3 delivers 1400W (stereo at 4 ohms), and 3800W at four ohms bridged. The input gain level for all models is 26dB.
Lastly, Yamaha gave some details on its recently announced partnership with Ether- Sound, showing their DME Satellite Series with its new EtherSound compatibility.
The Yamaha DME-ES Satellite Series includes the DME8i-ES (8 analog inputs), DME8o-ES (8 analog outputs) and DME4io- ES (4 analog inputs, 4 analog outputs). The series will be available in the second quarter of 2007.
Each DSP processor is housed in a single rack space unit and is capable of producing 80 percent of the DSP power of the full-featured Yamaha DME24N. DME Designer Software, which will be included with the DME Satellites and will also be distributed from the Yamaha website, allows programming, monitoring and control of all DME units: Satellite models (CobraNet and EtherSound versions), the DME24N and DME64N, plus the SP2060 speaker processor, all from one central software package.
Robert Scovill never stopped talking the whole show. After his keynote address to kick off the convention, Scovill gave tours of the Profile to anyone who asked — and a lot of people asked. The Profile is a powerful tool in a small package, compatible with all existing VENUE hardware and D-Show software. Particularly intriguing was the absolute level of control over macros — which could be as easy as a simple trigger, all the way up to rearranging DSP distribution for a series of cues spread across the entire show length.
While a studio mic might break if you drop it, plug-ins for a Digi studio system work just as well on the road — and Waves is taking advantage of that fact. They introduced their Live Bundle at AES. It contains 27 recording and broadcast systems, like the L2 Ultramaximizer, C4 MultiBand and MaxxBass, that have been engineered for Digidesign's D-Show and D-Show Profile consoles. Other processors featured in the Live Bundle include the C1 Parametric Compander and S1 Stereo Imager, as well as the entire Renaissance Series.
AES also had the usual complement of mic announcements, too.
Sony Electronics announced the expansion of the frequency availability for many of its WL-800 Series Wireless transmitter models with the introduction of two new channel blocks 30/32 and 42/44. The new channels were developed to aid end-users in configuring Sony wireless systems with increased flexibility in UHF-TV channel selection.
We also got to talk to the good folks over at Audio- Technica and ask them why they don't include a spare dual XLR adapter for their ATM250DE dual-action microphone. Turns out they had considered it, but including an extra adapter would up the price by an additional $50, and they didn't want to push the price point any higher. We don't know which is more disturbing: manufacturers thinking like FOH, or FOH thinking like a manufacturer.
Lastly, DPA was showing off their SMK mic kit, a 5.4mm electret condenser capsule that they had mounted to the inside of a piano. With the help of a pianist for the San Francisco Opera and a little Mozart they showed off the incredible sound from this tiny package.
D.A.S. introduced their baby line array, the Variant 25A. It's designed for use as a multi-box array in small to mid-sized installations, but the ability to pole-mount a couple of self-powered boxes with an actual compression driver at a price point where others are offering soft-dome tweeters means you are going to see these used live along with the Variant 18A sub. A pair of 25As and a sub will set you back about five grand a side.
Jan-Al Cases, purveyors of custom cases, announced they will launch RackmountCity.com in the first quarter of 2007. This one-stop shop site will provide engineers and rack-mounting professionals with a complete source for specifications, reference information, and point of purchase for racks, rack cases and rack accessories, whether for the road or permanent installation. It will allow users the ability to design racks by integrating product information and electronics manufacturers specifications on a searchable database. It will include extensive guidelines and "how to's," glossaries and explanations meant to standardize communications about rack mount products.
That Lampy Show
Is it just me, or is it terribly annoying that the only trade show where you can really hear concert-scale systems in their natural environment is a freaking LIGHTING show? Anyway the shootout-that-isn't-really-ashootout of speaker systems made it worth spending an entire day at LDI. (Yeah, they call ET Live — whatever, it's still a lighting show.)
So what was what? Harman did a live surround demo featuring an interestingly dressed club singer. EAW showed off the greatly improved KF series line array. With new Gunness Focusing and the ability to fly the subs, it sounded like a whole new system. Unfortunately, the reflection off of the apartment building a block away made it hard to really hear from more than about 60 feet away. (And we're sure the apartment residents were thrilled…) Stage "D" featured a turnkey d&b rig, and had other speaker makers singing its praises. Expensive or not, this is a very good sounding system — especially with the advantage of Robert Scovill running a Digidesign VENUE and using live Tom Petty tracks for the demo.
Across the parking lot the Meyer system sounded great — as expected — but the surprises were A-Line, whose active system uses the amp in one box to power a second box, making it much more affordable. An unusual hang (no curve) made it hard to really judge on a sound level, but coverage was good, and you should expect to see a lot of smaller soundcos looking at this as their entrée into the line array game.
The last system I heard was also greatly improved over previous outings. The QSC WideLine is true to its name with the widest image among the bunch, and the retuned boxes sounded very good. Like the EAW, the unexpected was how different it sounded from how we remembered it.
Now if they could only get this kind of demo at an actual audio show we would have something to cheer about.
If you had any doubt about digital migrating to the anklebiter level, all it took was a quick stop at the Mackie booth to put those doubts aside. Mackie is shipping a couple of add-ons for its very affordable TT24 digital mixer. One is a processor card that gives you the functionality of a Lake Mesa EQ, controllable from the console, and the other is a – you guessed it – digital snake. Looks like it might be time to consider buying stock in companies that make good Cat5 cable.
