Day 1 - Saturday Edition - Audio Engineering Society

40 Pages·2012·6.91 MB·English

day one edition | map and exhibitor listings begin on page 20
day1 DAFrom theI editors of PrLo Sound News &Y Pro Audio Review

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S e r v i n g t h e 1 3 3 r d AeS C o n v e n t i o n  •   october 26-29, 2012 moscone center san francisco, ca
Innovations
on the | inside

Spark AES
A-T Launches Flagship
50 Series With AT5040 PAGE 3
Slate Unveils Raven MTX PAGE 3 Resurgence
Pedersen: ‘AES Is Changing For the Better’
PAGE 4
PMC Launches By Clive Young
twotwo Active Monitors PAGE 6 It’s a great time to be in San Fran-
cisco—The Giants are up in the World
Networked Series 2-0; Hurricane Sandy is on the
other side of the country; and the
Audio Track Audio Engineering Society Conven-
tion is back in town through Monday.
Attendees will crowd the exhibition
Includes AVB
floor of the Moscone Center today to
see the latest and greatest in pro audio
Appraisal Steve Lillywhite, producer of classic albums by U2, Rolling Stones,
equipment, while discovering some of
Dave Matthews Band, Simple Minds, Peter Gabriel and countless
the new innovations the AES has up
others, gave the Convention’s Keynote Speech, regaling the
By Steve Harvey its sleeve, such as the debut of the new
crowd with war stories of how Jagger and Richards might’ve
The development of the Audio Video Project Studio Expo (PSE), which is
nicked some riffs; why Bono always uses a handheld vocal mic
Bridging (AVB) protocol is “one of already building up quite a buzz with-
the major turning points,” compa- in the studio; and why digital beats analog in his opinion. “I’ve in the industry.
rable to the industry-wide transition made my best records with the worst equipment, and the worst “We are reinventing the AES Con-
from analog to digital, said Avid’s records with the best equipment,” he extolled. Find full coverage vention,” said Chris Plunkett, deputy
Rob Silfast, introducing “AVB Net- of the Opening Ceremonies on page 3. innovations on page 38
working for Product Designers.”
The product design session
AES Debuts Project Studio Expo
reviewed the essential technical aspects
of the new technology to date and
its deployment in products. Tacitly By Strother Bullins (a.k.a. guesswork) rather than gleaned tor of the AES, recognizes that Project
acknowledging that there has been We live in a democratized audio pro- knowledge, which used to come Studio Expo is where the organization
some resistance to the AVB protocol, duction world. Gear-wise, we now have through windfalls of unpaid recording can meet and serve the technique-hun-
in that it’s unproven and presents cer- much more in common than, say, the studio internships, “runner” gigs, and gry. “We had a hunch that the PSE
tain technical limitations, Silfast posed same snare drum microphone. Now we the springboard of career-defining Sec- would be a successful event when we
a series of questions to the panelists, can all run the same workstation and ond Engineer gigs, just to name a few first dreamed it up nine months ago,
who took turns refuting those claims. use the same analog tape emulation old-school opportunities. but I’ve been surprised and excited by
In response to the reasoning behind plug-in on our 3:30-long single, sold at Since shared recording techniques the response,” he admits. “Companies
focusing on AVB when there are more the same store, for the same price. just don’t catch fire like they used to, that dropped out of the AES show, or
mature protocols already in existence, Even so, we’re more like islands in the AES—in association with UK- who have never been to one before, are
Michael Johas Teener, Broadcom, a stream of constant content creation, based mag Sound On Sound—wisely lining up to support it. And we have
pointed to the shortcomings of some as tools are increasingly our only com- presents the first-ever Project Studio grand plans to expand this in the future
of those protocols. “I didn’t want to monality. We’re not rubbing physical Expo at the 133rd AES Convention in as we address the needs of the project
build another hack,” he said. elbows. And, as a result, we’re largely San Francisco. studio world. This is the new reality of
avb on page 38 learning technique via trial-and-error Bob Moses, the new executive direc- pse on page 38

day1 saturday the AES DAILY
october 26-29, 2012 moscone center san francisco, ca 3
edition S e r v i n g t h e 1 3 3 r d AeS C o n v e n t i o n
Awards, Lillywhite Bon Mots
A-T Launches Flagship 50
Highlight Opening Day
Series With AT5040
Yesterday’s AES Convention Opening
Ceremonies and Awards Presentation Audio-Technica smooth top end and
highlighted some of the best aspects of (Booth 705) is launch- controlled sibilance,
professional audio today, with awards ing its flagship 50 the AT5040’s large-
given to organization volunteers for their Series of elite studio diaphragm character-
hard work and achievements. They were microphones with istics and fast transient
followed a keynote by legendary pro- the AT5040 Cardioid response also make
ducer Steve Lillywhite (U2, Dave Mat- Condenser Micro- it ideal for recording
thews Band, countless others) in which phone. A-T’s ultimate acoustic instruments
he recounted highpoints of his career, John Vanderkooy accepts the studio vocal micro- such as piano, guitar,
often leaving the crowd in stiches with phone, the hand-built strings and saxophone.
Distinguished Service Medal
bon mots like “I have the honor of hav- AT5040 side-address The first of A-T’s
Award from AES President Jan
ing produced the worst Rolling Stones condenser offers design criteria for the
Abildgaard Pedersen
album—until the next one.” remarkably musical AT5040 was purity
The event opened with comments Conference in Bogota, October 2010 high-fidelity perfor- of sound. To achieve
Audio-Technica’s AT5040
presented by Bob Moses, AES execu- • Cesar Lamschtein, in recognition mance, with profound this, A-T engineers
cardioid condenser
tive director; and Jan Pedersen, AES of chairing the 2011 Latin America realism and depth, developed a four-
president, opening remarks were pro- Conference in Montevideo, August– presence and purity microphone part rectangular ele-
vided by 133rd Convention Co-Chair September 2011 of sound. Featuring ment, the pinnacle of
Jim McTigue. A slew of awards were • Gunther Melendez, in recognition a proprietary break- recent breakthroughs
then presented by Deimer de Vries, of chairing the 2012 Latin America through element design, the AT5040 in sound-capture technology. Four
AES Awards Committee Chair, includ- Conference in Guatemala, August 2012 employs four ultra-thin (2 micron) exquisitely matched diaphragms
ing the Board of Governors Award, • John Oh, in recognition of co- rectangular diaphragms that func- function together (with outputs pro-
the Fellowship Award, Silver Medal chairing the 43rd AES International tion together, providing combined prietarily summed) as a single high-
Award, Gold Medal Award and Hon- Conference in Pohang, Korea, Septem- surface area unachievable in a stan- performance element—effectively the
orary Membership of AES. ber-October 2011 dard round diaphragm. Designed as largest element Audio-Technica has
Recipients of the 2012 AES Board awards on page 38 a first-choice vocal microphone with ever created.
Of Governors Award were:
• Jay Fouts, in recognition of his work
on behalf of the Audio Engineering Soci- Slate Unveils Raven MTX
ety over more than half a century
• Kyungwhoon Cheun, in recogni-
tion of co-chairing the 43rd AES Inter- At Booth 938, Slate Pro Audio’s touch monitor suited for the pro audio
national Conference in Rohang, Korea, Raven MTX Multitouch production industry, no ‘off-the-shelf’ product
September-October 2011 xonsole is a unique mixing console/ would work. They were too slow--with
• Ricardo Escallón in recognition of DAW controller featuring Slate’s own thick, untreated glass and unusable
co-chairing the 2010 Latin American custom-built 46-inch “Nano Glide” parallax between your finger and the
touchscreen displaying its Raven image. The screens themselves wouldn’t
Soundcraft Mixer and user-customizable multi- look correct at the angle that we need-
function Toolbar, plus a fully-featured ed, the glass had a horrible friction to
analog monitoring section based on it, and there were no proper drivers to
Mixing Slate Pro Audio’s Raven MTX
100 percent digitally-controlled analog do real Mac and PC integration with
Multitouch production console
circuits. Built for user’s digital audio professional DAWs. So we started
Seminars Set
workstation of choice, the Raven from the beginning and built the Raven
MTX’s GUI is largely the user’s GUI, touch display from the ground up, gies that were literally being introduced
Soundcraft will continue its suc- allowing complete touch access to fad- using brand new touchscreen technolo- to the market as we were working.”
cessful “Mixing with Professionals” ers, pans, mutes, solos, sends, automa-
seminars with stops in Minneapolis tion, and plug-in inserts. As such, a
Focusrite Launches Forte
on November 6, San Francisco on favorite plug-in, for example, can be
December 4 and Seattle on Decem- the size of 19-inch outboard hardware
ber 11. Ken Newman, front of and as easily tweak-able as its hard- Portable Audio Interface
house engineer for Barry Manilow ware counterparts, “a world-first in
and owner of Newman Audio, will DAW control,” offers Steven Slate.
host the sessions. For more infor- “When we began to develop the Focusrite (Booth 1205) is launching control over input and output levels,
mation, visit Soundcraft at AES at Raven concept, we studied the touch a brand-new flagship, portable audio and DAW control parameters.
Truck T1 or online at usa.sound- screen industry for months and became interface: Forte. It represents the pin- In addition to providing the highest
craft.com, or register via email at experts in the various technologies,” nacle of Focusrite’s analogue audio quality signal path, Focusrite has paid
[email protected]. Slate continues. “We realized some- circuit design, coupled with the latest in particular attention to ergonomic design.
thing very quickly: to make a multi- digital conversion technologies, along- A breakout cable with locking connector
side no-compromise industrial design is used for microphone (XLR) and line/
and professional practicality. instrument (TRS) inputs, but balanced
Genelec (Booth 911) is showing
Forte is a premium two-input, four- line and independent headphone outputs
a selection of its Smart Active
output USB 2.0 audio interface that are provided on the unit itself, so the
Monitors (SAM). Models in
works with Mac and PC. It has two breakout cable is not required for play-
the SAM range are capable
remote control mic preamps, as used back-only applications. In addition, the
of automatically adapting to
in Focusrite’s RedNet range of profes- mic and line-level inputs on the breakout
acoustical environments to offer sional audio interfaces, and uses class cable are separate, meaning all inputs
an indispensable tool. A SAM leading, 24-bit/192kHz A-D/D-A con- can be connected simultaneously, with-
system can be controlled with verters. Forte features a color OLED out having to re-patch when users switch
digital networking, enabling users (Organic LED) display to indicate from one to the other. The elegant alu-
to build highly flexible computer- input and output signal levels, mic pre- minum case includes non-slip strips on
controlled systems of monitors. amp gain and other useful information, the base to ensure that it is always stable
with stylish motion graphics giving you during operation. An external power
Shown from left are Genelec’s
detailed visual information. A single, supply is included with the unit, but this
national sales manager John
smooth-feeling control knob operates is only necessary if phantom power oper-
Conard and marketing director
in conjunction with touch-sensitive ation is required: otherwise Forte oper-
Will Eggleston.
icon buttons to give users complete ates solely on USB power.
the AES DAILY saturday
day1
4 october 26-29, 2012 moscone center san francisco, ca
S e r v i n g t h e 1 3 3 r d AeS C o n v e n t i o n edition
Pedersen: ‘AeS is Changing For the Better’
AES Must-See:
DIY, ‘Young
Almost a year after ed his work on January editor, Bozena Kostek. “All AES mem-
Jan Abildgaard Peder- 1st.” bers also owe a big thank you to our
sen took over as AES The organization has former editor, John Vanderkooy, who Guru’ at PSE
president, vowing to get also appointed a busi- did a fantastic job developing the Jour-
things back on track in ness development man- nal and bringing new initiatives; for By Strother Bullins
response to the wob- ager to help Moses find example, the ‘Engineering Briefs,’” says Saturday’s Project
bly global economy and new ways to serve busi- Pedersen. Studio Expo offers
industry changes, he nesses, says Pedersen: Various standing committee chair a day’s worth of
comments, “I conclude “Steve Green is making positions have also changed, and Ped- technique-based
that the AES is now significant steps forward ersen has reorganized the voting mem- guidance and
changing for the better. I in marketing and putting bers of the AES executive committee insight for new and
am sure that we can turn new ‘products’ on the into more of a management team. “I technique-hungry
the gold in our hands shelves.” have been working with the executive audio content cre-
Young Guru
into a bright and success- The program for the committee and the board of governors ators. Obvious
ful future for the AES.” annual U.S. AES Con- to ensure the future of the AES under highlights include two special ses-
There have been Jan Abildgaard vention has been broad- three headlines: ‘Change, Transparency sions: “DIY Results to Compete with
many developments Pedersen ened to encompass more and Collaboration.’” the Pros,” presented by Craig Ander-
since the 131st Conven- of the audio community. In Europe, he says, “We had a very ton of Harmony Central and Elec-
tion in New York, continues Peder- “We are launching new ‘Convention small but successful exhibition in Buda- tronic Musician; and M-Audio/Akai
sen, senior manager at Bang & Olufsen Tracks,’ where we directly address pest.” A longer-term strategy for Euro- Professional’s presentation of super-
in Denmark and a specialist in DSP a selection of our target groups,” he pean conventions, looking past the star engineer/mixer, Gimel “Young
and acoustic technology. For example, explains. “We have also launched a planned 2013 convention in Rome, is Guru” Keaton.
“A large and detailed search for a new special app for iPhone and Android in development through greater inter- At 2 p.m., Anderton will lead
executive director for the AES resulted that also uses these convention tracks.” action with potential exhibitors and an instruction-based presentation
in the hiring of Bob Moses, who start- The Journal of the AES has a new sponsors. of “do-it-yourself” mastering tech-
niques, targeting self-recordists who
can’t afford the services of profes-
Tech Tours Explore SF’s Pro Audio Community sional mastering engineers. Describ-
ing “the pitfalls and advantages of
‘project mastering’ as well as the
“A Bay Area native with a ty Post Production, Outpost Studios, main mistakes to avoid,” Ander-
solid background in all things Ex’Pression College For Digital Arts, ton will take attendees through the
audio, 133rd AES Conven- Fantasy Recording Studios, The Fenix process of album assembly for more
tion Tech Tours Chair Jessica Club, and a Dolby Atmos Demo at the cohesive self-released productions.
Livingston has proven herself Dolby headquarters theater. At 5 p.m. for the day’s final PSE
an invaluable resource in fer- Tickets for Technical Tours will be event, Keaton will detail his tenure
reting out our town’s most available on site at the Moscone Cen- as MC/Record Industry Force Jay-
interesting and ‘happening’ ter. Tickets will be sold at the Recep- Z’s engineer/mixer, a position he’s
highlights,” says Convention tion Desk in the main lobby well in has held for well over a decade. As
co-chair Valerie Tyler. “The advance of departure. such, “Young Guru” has recorded
depth of Jessica’s connectiv- “pretty much every other A-list MC”
ity, coupled with her instinc- 25th Street Recording’s Live Room in modern hip-hop, as documented
tive grasp of what would most Today’s Tech Tours in his official biography. His work,
appeal to our Tech Tour aficionados est live performance venue, these tours largely serving Roc-A-Fella Records
has shaped a particularly well-round- are designed to be instructive, colorful SAtuRdAy, OctObER 27 and Def Jam Recordings, is noted
ed schedule this year.” and entertaining.” Fenix for its attention to quality, detail and
“My goal was to profile the diverse 133rd AES Convention Technical 9:30 a.m-12 p.m sonic innovation. He plans to discuss
range of San Francisco’s pro audio Tours include the Tamalpais Research the crucial role served by the audio
community,” Livingston says. “From Institute (TRI) recording complex, ex’Pression College For Digi- engineer in today’s DIY world.
a cutting edge video game creative cam- studios at game developer Electronic tal arts See tomorrow’s AES Daily for
pus, to a top-flight school and SF’s lat- Arts, 25th Street Recording, Polari- 3:30 p.m.-6 p.m. more must-see PSE events on Sun-
day.
PMC ‘Masters of Audio’ Presentations
ROOm 114 eriK Zobler outFit27 & tony maserati mONdAy, Oct. 29
JaCK VaD
SAtuRdAy, Oct. 27 2:15 p.m.-3 p.m. 11:15 a.m.-12:30 p.m.
9:45 a.m.-10:45 a.m.
WaVes auDio
Music from Teena Marie The Collaborative Mix: “Mixdown with Tony
Mixing and recording the San Francisco Sym-
9:30-10 a.m. Maserati”
JV aCoustiCs/JoChen phony
Advances in Analog Modeling Technology stuDent CritiQue sessions
3:30 p.m.-4:15 p.m. eriK Zobler
Charles Deenan 12:30 p.m.-1:30 p.m.
Wisseloord Studios 11:15 a.m.-12:15 p.m.
10-11 a.m. Students can listen to their own mixes on PMC 5.1 mixes from Frank Zappa, Jeffrey Osborne’s
outFit27 (Jon Castelli/sPiDer) &
The Art of Sound Design systems latest album
tony maserati
stuDent CritiQue sessions maor aPPelbaum stuDent CritiQue sessions
4:30 p.m.-5:30 p.m.
11:30 a.m.-12:30 p.m. 1:15 p.m.-2 p.m. 12:30-1:30 p.m.
The Collaborative Mix; “Additional production” Students can listen to their own mixes on PMC
Students can listen to their own mixes on PMC Mastering with Impact!
systems
systems SuNdAy, Oct. 28 ross hogarth
Jim anDerson
aDVanCes in analog moDeling
outFit27’s Justin hergett/James 2:30 p.m.-3:30 p.m.
1:30-2:30 p.m.
teChnology
Krausse & tony maserati Advanced Music Production
Patricia Barber, the 5.1 mixes!
9:30-10 a.m.
1-2 p.m. PmC PlaybaCK sessions
PmC
The Collaborative Mix; “Session prep and PmC PlaybaCK sessions 4-5 p.m. 2:30-4:30 p.m.
pre- mix” 10:15-11 a.m. Bring your own music! Bring your own music!

the AES DAILY saturday
day1
6 october 26-29, 2012 moscone center san francisco, ca
S e r v i n g t h e 1 3 3 r d AeS C o n v e n t i o n edition
SAM I Am: Genelec Shows AMS Neve Unveils Neve
New Monitoring Concept 1073N Mic Preamp/EQ
Genelec (Booth 911) is introducing AMS Neve is at the Vintage King booth
its new Smart Active Monitor (SAM) (1111) showing the Neve 1073N, a brand
concept. As part of a new streamlined new evolution of the Neve classic 1073
marketing effort, Genelec has folded its mic preamp and EQ module. This unit
line of DSP monitors under the SAM uses identical circuit design and can be
classification, which now includes all used just like the classic 1073 to deliv-
Genelec monitors with a 82xx product er the unmatched vintage Neve sound.
AMS Neve’s 1073N mono mic
name (for instance, the award-winning However, thanks to modern manufac-
preamp and EQ module
8260A Tri-Amplified DSP Monitor turing techniques first brought to mar-
System). Models in the SAM range ket with the popular Neve 1073LB and
are capable of automatically adapting 1073LBEQ 500-series modules, the Neve accepts the 1073 classic module and used
to acoustical environments to offer an 1073N can also operate in standalone in the traditional way. However, the
indispensable tool for sound profes- mode with great new features, delivering new 1073N contains not only the origi-
sionals in broadcasting, post produc- a new level of flexibility and accessibility nal style connector to allow retrofit into
tion, music studios and more. A SAM SAM the Adaptable Chameleon, to audio engineers and producers. treasured consoles, but also an external
system can be controlled with digital the logo of Genelec’s new Smart Manufactured at AMS Neve’s head- PSU, meaning it can also be used entirely
networking, enabling users to build Active Monitor (SAM) Concept quarters in Burnley, UK, to exactly the on its own without any console or rack.
highly flexible computer-controlled sys- same dimensions as its classic counter- The 1073N now enjoys Mic, Line and DI
tems of monitors. in the development of the audio moni- part, the 1073N can be inserted into any inputs on the rear panel, line level output
Dr. Aki V. Mäkivirta, Genelec toring industry.” existing Neve console or enclosure that and can provide +48V phantom power.
research and development manager,
notes: “Smart Active Monitoring is a PMC Launches twotwo Active Monitors
concept that bundles all the benefits
of Genelec’s advanced monitoring
systems to a single, easily understand- PMC is launching a new active series increasing cabinet volume, greater
able and descriptive term. SAM is of monitors at Booth 722. The active bass extension and higher SPLs. The
also a concept that describes perfectly twotwo series makes the design tweeter is a purpose-designed, one-inch
the current technology leap pioneered approach of PMC’s top lines available soft dome and the bass drivers are new
by Genelec in the evolution of the at a lower price range, maintaining a to the nearfield market. The twotwo’s
active monitoring loudspeaker—the PMC family listening experience by were designed and are built in the UK.
transition from the analog to the digi- employing PMC’s ATL (Advanced The onboard DSP engine, derived
tal world, where digital technologies, Transmission Line) bass loading/ from that employed in PMC’s IB2S-A
along with software features, increase extension approach along with built- and used to optimize the response of
quality and bring unique user experi- in amplification and high resolution the drivers, provides a highly precise
PMC’s twotwo.6 (standing),
ences to the customers, and enable digital filtering crossover, maximizes dispersion, and
together with the baby of the
seamless integration of monitoring The line initially comprises two provides non-invasive component pro-
range, the smaller twotwo.5.
speakers and subwoofers to a well- models, the twotwo.5 and twotwo.6. tection using modeled excursion limit-
calibrated and correctly aligned A third, the twotwo.8, is slated to the model number refers only to the ing. The built-in Class D dual-amplifi-
reproduction system. At Genelec, we extend the line in 2013. All three share approximate size (in inches) of the bass cation system builds on the amplifiers
believe that progress towards Smart the same core design and features; driver, with larger numbers denoting developed for PMC’s powered range.
Active Monitors will open a new era
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day1 | saturday edition
october 2012
Adam Goldstein executive vice President,
group Publishing director
Tara Preston Associate Publisher
Karen Godgart Advertising Sales director
Doug Ausejo Specialty Sales
Frank Wells editorial director
David McGee editor
Kieran McGee Pro from dover
Clive Young Senior editor
Strother Bullins, Steve Harvey Contributing editors
Fred Vega Production Manager
Nicole Cobban Senior Art director
Brad Glazier onsite Photographer
Elvis Patron Saint
Steve Palm President & Ceo
Paul Mastronardi Chief Financial officer
Tony Savona vice President, Content and Marketing
Published by newBay Media L.L.C.
28 East 28th Street, New York, NY 10016
Tel: [phone]
Email: [email protected]
Web: www.nbmedia.com

the AES DAILY saturday
day1
8 october 26-29, 2012 moscone center san francisco, ca
S e r v i n g t h e 1 3 3 r d AeS C o n v e n t i o n edition
IsoAcoustics: community Spiffs up
New Studio
Nyc’s Z Hotel
Monitor Stands
New York City’s newest peripheral accompany it.
IsoAcoustics (Booth 742) new ISO- gem is Long Island City. Just a subway The rooftop lounge area is served by
L8R200 speaker stands for larger stop away from Manhattan, in Queens, more than a dozen Community (Booth
mid-field studio monitors and sub- this aging warehouse district is now 1025) WET Series W2-218 all-weather
woofers are now available in the U.S., abuzz with nightlife, eateries and fash- two-way systems. “We opted for the
The Z Hotel’s basement lounge.
for weights of up to 60 pounds. The ionable hotels. WET Series mainly for their weath-
The hip new hotel in Long Island
IsoAcoustics ISO-L8R200 stands are And the Z Hotel is a prime example: er resistance,” explains El Media’s
City has had its sound system in
based on the same patented acoustic within months of its grand opening, the Andrew Mitchel. “But we were pleased
various area spiffed up by newly
isolation architecture that secured an hotel boasts a 90 percent occupancy to find that they have a nice tight cov-
award for another model within the rate. The former factory has been rede- erage pattern as well.” Even though the installed Community gear.
IsoAcoustics family, the ISO-L8R155. signed from the ground up, with chic rooftop is 20 stories up and there are
Each ISO-L8R200 stand measures décor from its airy rooftop bar to the not a lot of immediate neighbors, we munity VERIS 26 two-way, dual 6-inch
8 inches (W) x 10 inches (D) and can intimate basement lounge and restau- wanted to make sure that there wasn’t full-range systems, with VERIS 212S
be configured to either four inches or rant. Both venues feature sleek sound a lot of sound spilling over into the dual 12-inch subwoofers for added low-
eight inches in height. Its cutting edge systems designed and installed by El neighborhood.” end punch. The loudspeakers are pow-
design offers several winning features Media Group, a Manhattan-based Community’s VERIS Series covers ered by Lab.gruppen C- and FP-Series
including 14 different variations in company that provides high-end bou- the downstairs restaurant and lounge. amplification, with Symetrix Jupiter
height and tilt, with a tilt up or down to tique hotels and restaurants with both The basement venue is outfitted with DSP providing system drive and pro-
6.5 degrees for any application. Acous- custom music and the sound systems to a distributed system featuring Com- cessing.
tic isolation is derived from its unique
“floating” architecture, which improves
sound quality while maintaining all New Preamp/Mixer Joins JDK Family
movement on-axis to improve clarity.
Consequently, subwoofers come alive
with tighter bass punch and superior JDK (Booth 923) continues to expand
bass decoupling. its product line with the addition of the
Extensive independent testing has powerful and versatile 8MX2 preamp/
been carried out to tune the ISO- mixer. JDK’s 8MX2 preamp/mixer
L8R200 stands to ensure that they Equipped with eight stellar micro- punch in only 1u of rack space. Linett of Music Mix Mobile West has
share the isolation and sound clar- phone preamps, each channel contains The 8MX2 was developed from been a fan of the 8MX2 for years. He’s
ity that is offered by the ISO-L8R155. a variable threshold peak limiter, 48v technology used in the Paragon live used the versatile units on projects for
“Our stands are not just an isolating Phantom power switch, phase reverse, mixing console. It evolved over the the Beach Boys, Eric Clapton, Brian
material, they are isolating devices that direct output and a path to the stereo years into a stand-alone preamp/mixer Wilson, Crash Test Dummies and
are designed and tuned to respond in mix bus. The included eight-into-two and is especially popular in remote David Lee Roth.
specific ways to provide a high level of mixer receives signal from the mic pre recording racks and sidecar-like appli- “We own a portable recording sys-
decoupling and improve sound clar- or eight external line level inputs. With cations. With hundreds in the field, the tem that features six of the 8MX2 pre-
ity,” explains IsoAcoustics founder two 10-segment meters to monitor 8MX2 can be found in the live record- amp/mixers,” said Linett. “I have taken
Dave Morrison. “The result is tighter Input/Mix and Gain Reduction, head- ing racks of artists such as Jimmy Buf- this system on remotes as far away as
bass with more clarity and openness phone and speaker output monitor fet, Cher, Taylor Swift, NBC’s 2012 Anguilla and the combination of the
throughout the mid-range and high controls, and multi-unit cue and master London Olympics crew, Lilith Fair, great sounding pres and the built-in
end.” capabilities, the slim 8MX2 packs a big and the Cowboy Junkies. mixer makes it an exceptionally com-
Engineer, mixer and producer Mark pact 48-track recording package.”
Lawo Features 2nd-Gen
mc256 Production Console
At Booth 940, Lawo is introducing
the second-generation mc256 produc-
tion console. Featuring cross-plat-
form compatibility with its two larg-
er mc2 Series siblings—the flagship
mc2290 and mc2266—the new mc256
introduces a wealth of new features
aimed at streamlining workflow effi-
ciencies and increasing one’s produc-
tivity.
Lawo’s mc256 production console
Among the mc256’s new features
is real, two-man operation with fully operation-making workflow more
decentralized control of all param- intuitive. This applies to operation-
eters including bank and layer selec- al aspects such as VCA allocation,
tion, EQ, dynamics and bus assign- bus assignment, meter pickup/mode
ment—due in no small part to the select, and mix-minus configuration.
console’s fully featured ISO bay This enhanced operation is further
access provisions. The new mc256 accentuated by the console’s new but-
now offers improved ergonomic and ton-glow provisions for color-coding
intuitive handling, providing opera- the channel strips. Similarly, the new
tors greater confidence when working mc256 provides Illuminated rotary
under pressure. knobs for an even better overview, all
As part of the mc256’s enhanced of which makes it easier for the oper-
functionality, the new console also ator to visually keep track of one’s
provides expanded, simplified touch mix, even in low light conditions.

the AES DAILY saturday
day1
10 october 26-29, 2012 moscone center san francisco, ca
S e r v i n g t h e 1 3 3 r d AeS C o n v e n t i o n edition
Aphex Expands
TC’s Lund Leads Loudness
500 Series With
Wars Panel
New Modules
At Booth 1019, Thomas Lund (HD
Aphex (Booth 715) is introducing its development manager at TC Elec-
The new range of Aphex 500
new 500 Series modules. The 500 Series tronic), Bob Katz (legendary mas-
Series modules, shown here,
now includes six models: J PRE 500 tering engineer and owner of Digital
includes the PRE 500 Mic Pre; EQF
Mic Pre; EQF 500 Parametric Equal- Domain Mastering), George Mas-
izer; DUAL RPA 500 Mic Pre; A PRE 500 Parametric Equalizer; DUAL senburg (GML LLC and associate
500 Mic Pre; the COMP 500 Optical RPA 500 Mic Pre; A PRE 500 professor at McGill University, Mon-
Compressor; and the acclaimed, previ- Mic Pre; the COMP 500 Optical treal) Florian Camerer (chairman of
ously unveiled EX•BB 500 Aural Excit- Compressor; and the EX•BB 500 the EBU P/LOUD Group) and John
er/Big Bottom module. Aural Exciter/Big Bottom module. C. Atkinson (Stereophile Magazine)
The J PRE 500 mic pre is inspired are investigating whether the wrong
by the flagship Aphex 1788A remote vides a fast transient response while the drug has been given during the Loud-
controlled preamp. They both have tube back end provides warmth and ness Wars.
the same Jensen JT11K8 nickel input punch. Panel chairman Lund notes:
Transformer and Aphex patented Mic The A PRE 500 mic pre is inspired “Newly produced pop/rock music
Limiter technology. Designed to pro- by the popular Aphex 188 eight-chan- rarely sounds good on fine loud- Thomas Lund
vide no-compromise audio quality in the nel preamp. They both use a custom speakers. Could it be that the wrong
convenient 500 series format, the J PRE designed Aphex input Transformer. mastering drug has been used for technical, a perceptual, and a practi-
500 also features a Jensen JT-11DL The new COMP 500 module is an decades, affecting Peak to Average cal point of view. In a normalized
nickel output-balancing transformer. optical compressor. It features an elec- Ratio instead of Loudness Range? world, bad drugs will no longer be
The EQF 500 reissue is a modern tronically balanced input and uses a With grim side effects all around— compensated by a benefit of being
take on the classic Aphex EQF-2 500 Jensen JT-11DL nickel output balanc- and years of our music heritage irre- loud.”
series three-band equalizer, originally ing transformer. versibly harmed—this panel will The workshop, “Loudness Wars:
introduced in the 1980s. The EX•BB 500 is a mono, 500 provide a new status on the loudness The Wrong Drug?,” is set for Sat-
The DUAL RPA 500 mic pre is a Series module version of the popular wars and sets out to investigate the urday October 27 from 11 a.m. to 1
two-channel solid state/tube hybrid Aphex Aural Exciter and Optical Big difference between the two from a p.m.
preamp. The solid-state front end pro- Bottom processors.