The AES Convention Returns to Los Angeles and Reveals a Few Surprises

It’s been 12 years since the annual Audio Engineering Society show made an appearance in Los Angeles, this time returning to the L.A. Convention Center from October 8-12, 2014. For audio professionals, this was the place to be, with the exhibit floor, panels and technical sessions packed all four days, thanks to the 15,403 registered attendees and 307 exhibitors/sponsors.

As with past AES shows, the emphasis tended to be on higher-end recording technologies, although the presentations at the Project Studio Expo and Live Sound Expo were also popular attractions, along with the usual technical panels featuring world-class producers and studio engineers. 

Big Hits on the Show Floor
As expected, the emphasis at AES was on high-ticket items, with Solid State Logic drawing crowds to see its new XL-Desk, which – carrying a price of $19,999 – is the company’s most affordable console to date. The XL-Desk makes a twist on the traditional analog 24×8 mixer set up, with 20 fader strips (16 are mono inputs; four are stereo channels) along with an 18-slot built-in rack that accommodates API’s popular 500-series signal processing modules. 

Decidedly less pricy are the new StudioLive RM-series rackmount digital mixers from PreSonus (presonus.com), which are based on the company’s successful new StudioLive™ AI-series engine. Rather than a physical control surface, both the RM16 AI and RM32 AI feature remote-control software that runs on Mac and Windows computers, as well as iPad and Windows 8 touchscreens.
The three-rackspace RM16 AI provides 16 XLR inputs with recallable XMAX™ Class-A preamps, eight XLR line outs, and three main outs (left, right, and mono/center); 32 internal channels and 25 buses; a 52×34 FireWire 800 recording interface; 96 kHz operation; and extensive onboard signal processing. As its name suggests, the four-rackspace RM32 AI offers 32 inputs, also with recallable XMAX preamps and 16 line outputs but otherwise has the same features as the 16-input version. Both mixers offer individual +48V phantom power on all inputs. 

Live users will appreciate the StudioLive RM-series approach, where the main unit can be left onstage – no need for mic snakes – and the ability to tweak any mixer parameter wirelessly from a tablet or iPad from anywhere in the venue. This also includes monitor mixing as well, where individual musicians can adjust their own stage mixes via an iPhone or iPad. The RM32 AI is $1,999/street, the RM16 AI is $1,399 and included in the series pricing is integrated Capture recording software with true Virtual Soundcheck mode and the Studio One Artist recording/editing/mixing DAW app for Mac/Windows. 

Mic Mania
The big news in the microphone department at AES was Neumann’s reissue of its classic U47 fet, the 1960’s transistorized successor of the original tube U 47. Unlike the tube U47, the U47 fet is a single pattern (cardioid) design and operates at standard 48 VDC phantom power and made its mark on studio history by handling very high sound pressure levels for the first time, such as positioning directly the mic in front of loud amps. At $3,999, this special collectors edition probably won’t see the shelves of most music stores, although the price does include a wooden case and an individual certificate with the serial number of the microphone.

One recent area of expanding consumer interest is in DSLR (digital SLR) cameras, most of which now include the ability to capture broadcast-quality motion images, in addition to ultra-high resolution still photos. However, despite the spellbinding video quality they offer, these products fall way short in terms of sound quality, especially from their low-grade onboard microphones. And if that wasn’t bad enough, most video-ready DSLRs also place the microphone on front of the camera body – exactly where the user’s fingers grip the unit, frequently covering the mic itself. Not a pretty picture either way, but a definite opportunity for savvy retailers to service that growing market.     

Offering a solution with that user in mind, Audio-Technica unveiled the AT8024 camera mount microphone, a switchable stereo/mono design with miniature condenser elements, rubber shock mounts to isolate the mic from vibration and mechanical camera noise and an integral shoe mount that fits nearly all cameras. 

The AT8024 is equipped with a three-position input pad to handle anything from the quiet whispers to extremely loud sound sources without distortion, along with an 80 Hz low-cut filter switch to roll-off undesired ambient noise, room reverberation and mechanically coupled vibrations in difficult shooting environments. It ships in December and MSRP is $249, including two removable windscreens and a permanently attached six-foot cable with a 1.8-inch stereo mini-plug output. Oh, and besides DSLR’s, the AT8024 is also compatible with camcorders, tablets and other video cameras. 

Ideal for grab-and-go direct to computer recording, Lewitt Audio unveiled its high-performance 24-bit DGT 650 digital USB microphone with onboard headphone monitoring. This $399/street unit takes the USB mic market to a new level, with ASIO for Windows and OS X Core Audio support as well as mobile devices with its built-in lithium-ion battery. 

In stereo mode, the DGT 650’s two condenser capsules provide a spacious, 90-degree XY stereo signal. In cardioid mode it offers a directional mono pattern for recording speech or singing. In Singer/Songwriter mode, the DGT 650 can simultaneously put out both a mono signal and a line signal. It also provides a stereo line-in mode with a stereo input that makes possible two-channel recording from a mixer or other line source. All of these modes also allow the additional inclusion of a MIDI signal. The price includes a shock mount, windscreen and a carry case.

The Listening Post
Known for its beautifully designed (and high-performance) studio mics, Blue Microphones broke new ground with its new Mo-Fi – the first headphone featuring a built-in 240-milliwatt audiophile amplifier matched to precision ear drivers for consistent accuracy on every device – from studio gear to laptops, tablets, and phones.

Mo-Fi’s headband and earcup designs mark a complete departure from traditional headphones, employing a multi-jointed headband for total comfort and adjustability for a variety of head shapes and sizes. The ear-shaped earcups create an effective seal for solid bass response and reduced sound bleed – ideal for tracking in the studio. Onboard batteries recharge via micro USB for 12 to 14 hours of play-time. MSRP is $349. 

Genelec also came downscale with its 8010 active studio monitors, which are compact both in size and price – $395/each, street. Featuring a balanced XLR input, 3-inch bass driver, 3/4-inch tweeter and efficient onboard Class-D power amplifiers – one for each driver – the 8010 produces far higher playback levels than might be expected from a monitor of this size. 
JBL Professional (jblpro.com) was showing its EON 206P, an ultra- portable, 25-pound system designed for small band/solo acts, schools, worship events, seminars and more. It has two 6.5-inch woofer/1-inch dome tweeter passive speakers and a 160-watt (80W/ch) amplifier section. Maximum output is 113 dB. An integrated mixer has two balanced mic/line channels with XLR/quarter-inch combo jacks and reverb effect; two stereo RCA-1/4-inch inputs; and two 1/8-inch TRS stereo inputs. A Stereo Monitor Out can drive an external subwoofer or stage monitors. A 36mm pole socket allows easy mounting.

Gibson Pro Audio was on hand to demo some of the speakers unveiled earlier this year from its affiliate companies, including Cerwin-Vega and KRK. The third-generation of KRK’s popular Rokit studio monitor series, the new Rokit G3’s are powered two-way studio monitors available with five-inch, six-inch or eight-inch woofers with the company’s trademark yellow-colored cones, of course and priced from $149 each. C-V was showing the latest addition to its PX line of live speakers, the P1000X, which is a compact 10-inch, two-way cabinet with 1,500 watts of onboard Class-D bi-amplification, a built-in mixer and an optional 18-inch powered subwoofer. 

But what was grabbing the attention at the Gibson booth was the new line of Les Paul Reference Series speakers, slated for delivery later this year. Available in three versions: 4-inch ($599/each), 6-inch ($799/each) and 8-inch ($999/each) – all two-way designs with a 1-inch dome tweeter and onboard Class-D amplification – all feature distinctive yet familiar-looking flame maple fronts and a Les Paul signature stamped on the woofer cones. 

Audio Essentials
Shure launched the latest addition to its line of PSM personal monitor systems, the PSM 300 Stereo Personal Monitor System, which brings in-ear monitoring rigs way down to more affordable levels (retail prices start at $699) – great news for bands, solo performers and house of worship musicians. The system consists of a half-rack-sized transmitter (which connects to a monitor feed from mixer), and either an “entry level” or “pro” beltpack receiver, which can accept the included earphones or any standard headset or headphones with a standard 1/8-inch stereo plug. Each model delivers detailed 24-bit digital audio performance with reliable wireless coverage that extends up to 300 feet and a one-touch frequency scan and IR sync features allow users to quickly find and assign a clean wireless channel. 

Having acquired the Hafler brand a few months ago, Radial Engineering was showing some new Hafler items, beginning with some small box items including three flavors of phono preamps and two headphone amplifiers. The latter includes the Hafler HA15, a solid-state design, and the “Tube Head” HA75, a discrete design that incorporates a 12AX7 tube unique feedback control. Radial president Peter Janis also said that plan are in the works to re-release a select number of popular power amplifiers from the Hafler lineup, sometime in 2015.  

TASCAM came on strong with a number in innovative – and affordable – solutions for home and studio recording. Now shipping, its handheld DR-44WL 4-track recorder with built-in X/Y stereo condenser microphones, two XLR inputs for adding two other mics or sources, 96 kHz/24-bit converters, and Wi-Fi connectivity with your smartphone. A free app for iOS and Android controls the transport, transfers files, and streams audio from the device. Street price is $299.

TASCAM also announced the single-rackspace US-16×08 audio interface, with eight mic preamps, eight line inputs (two switchable for instrument recording) and advanced features to manage big sessions, yet with $299 street pricing. An onboard DSP mixer is built-in for low-latency digital mixing. And in addition to interface mode, the US-16×08 can be used as a standalone mic preamp. Mac and Windows drivers are provided, as well as USB 2.0 drivers for iOS compatibility. MIDI input and output are also available on the rear panel.

Artist/producer Alan Parsons was on hand at AES, both to give the convention’s keynote address, offering his insights on the current and future direction of the music and recording industry, as well as appearing at the Hal Leonard Books booth to launch his new book, Alan Parsons’ Art & Science of Sound Recording. 

The large format, 272-page text (co-written with noted music technology expert Julian Colbeck) offers tips, insider techniques and topics ranging from “The Brief History of Recording” to “Dealing with Disasters” – all authored by a man trained at London’s famed Abbey Road studios and packed with priceless anecdotes from Alan Parsons’ own career working with The Beatles, Pink Floyd, and countless others. Alan Parsons’ Art & Science of Sound Recording is one entertaining, fascinating, authoritative, and thoroughly addicting read for any recording enthusiast. MSRP is $49.99.  

AES 2015 returns to New York City for next fall’s show. For further information on the Audio Engineering Society, visit aes.org.