LOS ANGELES —From Sept. 29 through Oct. 2, 2016, thousands of audio professionals made the annual trek to the Audio Engineering Society convention, held this year on its bicoastal rotation at the Los Angeles Convention Center. The extensive technical program of papers, technical tours, workshops, and seminars had a good sprinkling of live audio related topics.
These included the popular Live Sound Expo — offering ongoing sound reinforcement-related presentations that were located on the show floor next to the exhibits and open to all attendees.
Based on floor traffic, the overall attendance (both in badged attendees and overall exhibitors) at AES seemed lower than in past years. This, however, is expected to change big time for next year’s confab, as the 2017 AES show in New York (Oct. 18 to 21, 2017) will co-locate with the NAB New York Expo, with an expected doubling of the numbers of exhibitors and the attendant increase in showgoers.
Although the expo action at AES 2016 was somewhat slowed, there was a selection of interesting new products to check out from a sound reinforcement perspective, where new live consoles outnumbered recording models by a factor of 8:1. With that in mind, here are some of the live sound technology highlights that caught our attention.
›› Live Consoles
Avid (www.avid.com) was demoing the new VENUE 5.3 software for its S6L live console, which gives engineers the ability to record/play back up to 128 tracks to/from Pro Tools over Ethernet AVB with no separate interface required — great for archiving or Virtual Soundchecks. The update expands the user-definable fader layouts feature, letting users create/recall up to 24 custom fader layouts. It also adds a Matrix Spill function for quick control of each matrix using console faders. Perhaps biggest of all, VENUE 5.3 software supports the new MADI-192 option card for bi-directional MADI connectivity to a host of industry devices, including Waves SoundGrid systems. Engineers can now run their favorite Waves plug-ins alongside S6L’s onboard AAX DSP plugs.
Cadac (www.cadac-sound.com) launched an addition to its CDC series digital console line. The new CDC seven builds on the heritage of the flagship CDC eight and success of the medium-format CDC six, offering all of the power and operational simplicity of the CDC six with the enhanced production capabilities of expanded dual 23.5-inch 16:9 high-definition touch screens, 36 motorized faders (each with color OLED displays) and a third 6.5-inch touch screen providing system control. The CDC seven also adds some significant horsepower, upping the number of inputs to 96, with 56 buses (48 are configurable). The console features low-latency 96 kHz A/D/DA converters, also with 16 onboard stereo effects. It is also preconfigured with an integrated 64 x 64 Waves interface; this allows direct connection to a Waves MultiRack SoundGrid server with access to the vast Waves’ library of effects, and also enables multitrack recording straight to a laptop.
Check out the FOH-TV video at www.fohonline.com/foh-tv.
DiGiCo (www.digico.biz) expanded its S Range of compact digital consoles with the S31, a larger version of DiGiCo’s popular S21 console, sporting an expanded work surface with 10 additional faders for more control and a third 10-inch multi-touch screen for faster access and more visual feedback. The S31 still offers the same flexibility as the S21, with 24 mic inputs and 12 line outputs on the rear of the console for straightforward audio connection. There are also two DMI ports as standard, as well as a UB MADI interface for DAW recording. Initial units of the S31 are starting to ship now.
Hear Technologies (www.heartechnologies.com) was demoing its Hear Back Pro 16-channel personal mixing system, which offers fast, simplified artist control of monitor mixes. But the surprise here was a new iOS control app for the Hear Back Pro system that lets one onscreen mixer be designated as a master controller, with the ability to remotely tweak any mixer on the system. The Hear Back Pro app will ship sometime around the end of the year.
Lawo (www.lawo.com) was showing the second generation of its free Lawo Remote app. The new v2 version is designed to provide extended control of Lawo HDCore-based products, including its popular mc²-series consoles. Fully labeled fader strips can be controlled together with their source and send settings. The app can also load Snapshots or trigger pre-configured, dedicated functions, such as switching monitoring sources, routing connects or controlling GPIO’s, start/stop of external playback systems and more.
QSC (www.qsc.com) made a splash by unveiling its new TouchMix 30 Pro digital console the opening day of the show. Although QSC did not have an AES booth, the company was a sponsor of the show and provided a TouchMix 30 Pro mixer for use in handling the audio requirements of the AES Live Sound Expo presentations, which allowed attendees to check it out in person. Essentially, the TouchMix 30 Pro improves on the original, offering 32 mixing channels (24 Mic/Line, 6 Line, Stereo USB) and 16 outputs, a 10-inch touch screen, expanded DSP and a host of other enhancements. And it’s shipping now, at an $1,899 street price.
Radial Engineering (www.radialeng.com) was showing its Key-Largo, a compact, footswitchable mixer that’s an ideal solution for multi-keyboard players. The unit has three stereo keys inputs, a stereo USB input, stereo mains (XLR) and 1/4-inch monitor sends, an effects loop, MIDI in/out pass-thru and footswitches for effects in/out and keyboard sustain. Everything is built into a typically Radial indestructible chassis that’s made to take road abuse. Street is $399 when it ships around the end of 2016.
Yamaha (www.yamahaproaudio.com) unveiled the TF-RACK, a compact rack-mount version of its TF Series digital consoles. Features include 16+1 stereo inputs, 16 outputs; 1-knob COMP™ and 1-knob EQ™; QuickPro Presets™ optimized settings for popular Audio-Technica, Sennheiser and Shure mics; expansion capability for up to two stage boxes; touchscreen operation; rear-panel I/O connections and optional NY64-D Dante I/O card. TF-RACK is compatible with TF StageMix™ for wireless Wi-Fi remote mixing via iPad, and the MonitorMix™ app for aux send mixing. Shipping is slated for Q4 2016.
Check out the FOH-TV video at www.fohonline.com/foh-tv.
›› Loudspeakers
Unfortunately, AES is not a major vehicle for sound reinforcement launches, yet there was some action on this front.
L-Acoustics (www.l-acoustics.com) kept its demo room packed with attendees hearing its latest Kiva II ultra-compact line source, as well as the new KS28 double-18 reference subwoofer, X Series of compact coaxial systems and X8 stage monitors. L-Acoustics was also showcasing its latest developments on the open standard Audio Video Bridging/Time Sensitive Networking (AVB/TSN) platform, playing 20 audio channels at 24-bit/96 kHz directly to an Ethernet AVB/TSN Gigabit network via three streams of eight channels each, to the company’s newly updated LA4X and LA12X amplified controllers.
Powersoft (www.powersoft.it) used the occasion of AES to present two days of demos at the nearby Mayan Theatre of its latest Class-D amplifiers and the revolutionary moving-magnet linear technology M-System subwoofers. Company co-founder and R&D director Claudio Lastrucci (shown here with 30-inch subwoofer) was on hand for the presentation of the technology, which replaces the traditional voice coil approach with an M-Force motor/M-Drive amplifier combination that modulates the magnet structure for linear, ultra-high excursion low frequency performance.
›› Microphone Mania!
As always, new microphone debuts are a popular feature of any AES, and while studio mics outnumbered live mics at the show, models for sound reinforcement use made a strong showing.
ADK’s 3 Zigma line (www.hybridmic.com) has added a mellow-toned lollipop capsule to its Modular/Hybrid System of interchangeable capsule mics. The C-Lol-47 has a dark, almost ribbon-like large-diameter capsule that is equally flattering on distorted guitar cabs, tube bass amps, cello, piano and brass instruments. Paired with the ultra-high SPL HA-FX Head-Amp/ body, the C-Lol-47 FX can handle up to 153 dB SPLs. Other Lollipop capsules in the series (also voiced after classic mics) include the C-LOL-12, C-LOL-67 and C-LOL-251.
Audio-Technica (www.audio-technica.com) had plenty of activity. The big news was the announcement of Alteros, a new U.S.-based technology subsidiary that will develop high-end solutions for professional wireless applications. The company will be headed by A-T’s VP of R&D (and award-winning microphone designer) Jackie Green.
Audio-Technica also announced that its line of ATM350a cardioid condenser instrument mics are slated to begin shipping next month. The series comes in six systems, promising discreet, rock-solid mounting solutions for a host of instruments via optional mounts, for woodwinds, strings, brass, percussion, drums and the magnetic piano mount shown here. The mic’s cardioid polar pattern protects against feedback by reducing side and rear pickup, while the switchable 80 Hz hi-pass filter on the in-line power module helps control undesired ambient noise.
DPA Microphones (www.dpamicrophones.com) demoed its GSM4000 Gooseneck Shock Mount Accessory which features a clip for easily mounting a d:dicate capsule with a preamp connected to it. Users can employ DPA’s new MMP-G Modular Active Cable for wireless or the MMP-E Modular Active Cable for wired solutions.
MXL (www.mxlmics.com) is now shipping its DX-2 — the first dual-dynamic capsule mic that lets users tailor the sound between a supercardioid large-diaphragm to a small-diaphragm cardioid via a crossfade knob to match any guitar amp. (For more information, see FRONT of HOUSE, Oct. 2016, “Road Test” feature on page 54.)
sE Electronics (www.seleectronics.com) — well known for its studio mics and the Reflexion acoustical isolation filters often seen on tours — unveiled the new V Series of dynamic handheld live performance vocal microphones. The new V7 supercardioid and V3 cardioid models offer low handling noise, a natural sound and higher gain before feedback. The V7 has an MSRP of $129. The V3 is $89. Both are slated to begin shipping this month.
Shure (www.shure.com) — to commemorate the 50th anniversary of its SM58 — unveiled a special 50th anniversary model, with a silver finish, printed 50th anniversary notation on the handle and historically-inspired packaging. Retail is $109. Launched in 1966, the SM58 was based on Shure engineer Ernie Seeler’s Unidyne III cardioid capsule, which he used a year earlier for the iconic SM57. Over the next half-century, both mics remain mainstays of rock music, yet ironically, Seeler was a classical music fan who hated rock ‘n’ roll.
›› Production Essentials
Astro Spatial Audio (www.astroaudio.eu) provided the show’s most impressive demos with its SARA 3D audio rendering engine. With immersive 3D audio a trend on everyone’s list, the system uses state of the art object-based audio technology (developed by Germany’s Fraunhofer Institute) to deliver a true 3D experience, making it ideal for performing arts facilities such as theaters, opera houses, concert venues, theme parks and worship spaces. Features include integration with commercially available DAW’s such as Avid Pro Tools, support for Dante audio networking and an HTML5-based GUI optimized for use with OS X, PC or Android devices. In other news, Astro Spatial Audio just named Masque Sound as its first U.S. dealer.
Bose Professional (http://pro.bose.com) is now shipping its new PowerShare adaptable power amplifier line, with three single-rackspace models: 2- and 4- channel fixed-install models (PS602 and PS604) and one 2-channel portable amplifier (PS602P). Each model delivers 600 watts of power that can be shared across all output channels. With support for both low- and high-impedance loads up to 100V, PowerShare amplifiers adapt to a wide range of applications. Configurable onboard loudspeaker processing and direct access to zone controllers complete the package and simplify the installation process.
DACS Audio (www.dacs-audio.com) was showing its Test Lab — probably described as the ultimate cable tester, but on steroids. The built-like-a-tank unit checks cable and signal path integrity of both remote and local signals using an LED bar graph, indicator lights and an onboard signal generator with loudspeaker. Besides displaying cable/connector wiring and continuity, Test Lab also has an AC voltage meter, lighting for backstage illumination, a flashlight and more. It can operate on one or two 9 VDC batteries or 110/220 VAC. MAP is $499, but this may be the last test unit you’ll ever buy.
DirectOut (www.directout.eu) gave its popular EXBOX.BLDS MADI redundancy switch a facelift, bringing the EXBOX to match the company’s new portfolio. The unit offers silent, sample-accurate MADI switching of any number of MADI channels for an extra layer of redundancy and three can fit within a 1U space. EXBOX.BLDS detects MADI streams from both playback systems (the one in use and the redundant system) and switches seamlessly from one to the other in case of failure.
Focusrite (www.focusrite.com) announced RedNet Control 2.0, providing remote control for products in its RedNet range of Dante-based audio-over-IP systems. Based around a web browser-like tabbed graphical interface, RedNet Control 2.0 is designed to handle the largest RedNet system, with the ability to control up to 600 RedNet devices in total, representing up to 9,600 Dante audio channels. Individual devices are shown graphically, and RedNet Control 2.0 allows for improved device monitoring, metering and control of the vast majority of device parameters as well as allowing devices to be locked or unlocked for access control. Deliveries begin in December.
Rupert Neve Designs (www.rupertneve.com) debuted the Shelford Channel — a perfect channel strip for your “money channel” input. The single-rackspace device uses Rupert’s new transformer-gain, Class-A mic preamp, complemented by an 1073/1064-inspired inductor EQ section, a new diode bridge compressor, a dual-tap transformer output with high/low-headroom outputs, variable Silk/Texture transformer saturation and twice the operating voltage of Rupert Neve’s vintage modules. Shipping begins this month. MSRP is $3,995.
Synthax (www.synthax.com) was showing the new RME Fireface UFX+, which builds on the success of the acclaimed Fireface UFX interface and adds new features. These include MADI I/O (now with support for 188 channels) and more powerful DSP — making it ideal for demanding production applications. Among the standard connectivity protocols on the Fireface UFX+ are analog, ADAT, MADI, AES, S/PDIF, USB 3 and Thunderbolt. Shipping begins this month at an MSRP of $2,999.
Tama (www.tama.com), known for its rock-solid drum hardware, exhibited straight and boom microphone stands in its Iron Works Tour Series. Offered in a variety of heights and models, the stands incorporate a large-size die-cast locking thumbnut with a sure-grip design providing improved leverage for faster, easier set-ups. Also standard are Latch-Lok sleeve inserts for a secure hold, and die-cast zinc adjustment collars. At AES, Tama previewed new round base stand models to the line, which should ship around the end of the year.
Telefunken Elektroakustik (www.telefunken-elektroakustik.com) made its entry into the direct box race. The new TD-1 and TD-2 are mono and stereo, transformer-based passive models, while the TDA-1 and TDA2 are single/dual-channel active models with FET electronics and transformer outputs. All feature -15 dB pad and ground lift switches and UK-made OEP/Carnhill transformers. Shipping is slated to begin in December.
More to Come!
There was a lot more at AES, so watch future issues and fohonline.com more interesting products from the show. And speaking of the future, for 2017, AES returns to the Big Apple from Oct. 18 to 21, 2017. See you there!
