Focusrite Studio Console Video and Contest

Our friends at Focusrite have produced an interesting historical video about the first studio console that they designed. There were only ten of those consoles built, and the video traces each one from its first installation to where it is today. It’s kind of interesting to see how far these things have gone (one was in a New Jersey studio that suffered a lot of flood damage from last year’s hurricane Sandy) and the efforts that owners have taken to keep those consoles alive and in use

The excuse for the video (or maybe it’s the other way around) is the 25th anniversary of the Focusrite brand. To celebrate, they’re having a contest, the prize being an expense paid (hopefully including transportation) recording session at AIR Studios in London. The contest is now closed, but the video is still up and it’s an interesting story and worth watching.

Watch the Focusrite 25th Anniversary video.

 

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The 78 Project

A piece on NPR’s Morning Edition (see the link at the bottom of this page) about The 78 Project caught my ear this morning. I’d never heard of this project before, but apparently it’s been going for a few years. A couple of folks from New York have resurrected a portable (it weighs 50 pounds, but there’s a handle on the case) Presto disk recorder from the 1940s, and have been takPrestoDiskCutter_78_Projecting it around, making direct-to-lacquer disk recordings of musicians in non-studio environments, invoking the spirit of Alan Lomax and his extensive field collecting work for the Library of Congress.

The 78 Project’s work isn’t quite like Lomax in that they’re not discovering music history. Most of their work, at least that which they’ve published, has been with established contemporarly artists in the (though I hate the term) “americana” genre, Richard Thompson, The Secret Sisters, Elvis Costello, Rosanne Cash, Marshall Crenshaw and such. They’re issuing their recordings as vinyl LP pressings with a digital download including extensive notes, and for those who don’t have a turntable, their recordings are available for download through iTunes. This is definitely lo-fi stuff, and clearly a bit of a novelty, but they’re pretty serious about what they’re doing. In essence they’re using the disk recording and playback process as a signal processor, following up with contemporary digital mastering, sort of like using Grandpa’s TEAC to “warm up” your digital home studio recordings. From the photos, it looks like they’re using the original microphone that came with the recorder, or one like it.

I’m not sure how technically hip they are (the write about desparately changing tubes before a session), and their gear lust for a Newcomb suitcase turntable owned by one of their artists is a little strange (this is the sort of player common when I was in elementary school in the 1950s). They accept the flaws and glitches of the one-take sessions, but they seem to have some good guidance and want to let people know about what they’re doing, so I’m doing my part here in the interest of maintaining vintage technology. I hope they’re using something better than the Newcomb for transcribing the masters, and that they’re taking good care of the lacquers. They have a film in the works, too, as Kickstarter funded project.

For further details, visit The 78 Project web page

Here’s the NPR story

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2014 Winter NAMM Show Report Posted

I’ve posted my consolidated NAMM show report for the 2014 Winter show. There’s some additional information here that I didn’t include with the daily reports, and it’s organized by category. Pictures and links to web sites. No videos (you can find those on the web).

I’ll leave the daily reports up for a while since they’re showing up in search engines, but eventually I’ll clean house and remove them. So if you tell your friends, refer them to the full report.

Here’s the direct link to the 2014 NAMM Show Report

Check out the Trade Show Reports page for others.

Posted in Trade Show Reports

2014 NAMM Show – Day 4

Last day, playing catch-up. I really enjoy Sunday at NAMM. All the crowds are gone, though, unfortunately, some of the best people to talk to about products are on their way home, but I did fill in a few gaps.

Behringer is now shipping all the cut-down versions of the X32 console, though their tablet-controlled mixers are still getting the kinks worked out. As usual for Behringer, they introduced a lot of new products, more than I could keep track of. Of interest are a couple of USB audio interfaces and DAW controllers. The UMC-404 and UMC-1820 are, respectively 4 in/4 out and 18 in/20 out interfaces with four and eight mic/line inputs. The 1820 also has ADAT and S/PDIF I/O. They’re pretty straightforward as these things go. The X-Touch series of control surfaces come in three sizes – X-Touch (the whole works), X-Touch Compact which loses the jog wheel and a bunch of buttons that control DAW automation, and X-Touch Mini which also loses the motorized faders but has knobs that can be assigned to serve as level controls. They all use the Mackie Universal Control or HUI protocol which makes them compatible with nearly all recent DAW programs.

The close connection between Behringer and Midas consoles is no better illustrated than with the new Midas M32 compact live sound console. At heart, it’s a Behringer X32. It runs the same software and uses same converters and digital processing components. The user interface is physically laid out a bit differently, it has real Midas mic preamps (as opposed to “Midas designed” in the X-32, and has higher quality moving faders.

Dangerous Music has a new dual channel compressor that’s designed to compress, not to add crunch, warmth, or distortion. It has a fast limiter ahead of the compressor to tame transient peaks and prevent them from dropping the level of the channel. The two channels can be operated independently or linked for stereo, In the stereo mode, gain and threshold controls are linked so that one knob controls both channels together. Even when linked, the detectors are independent, as are the compression ratio, attack and release controls. There are separate side chain sends and returns on balanced XLR connectors as well as a side-chain listen mode so that when using the side chain inserts  or one of the oreset side chain filters, you can hear what the detector is hearing. This is a Chris Muth design and his other products are noted for their transparency, so I’d expect that from this compressor.

Cathedral Pipes is the unlikely name for a microphone company, but the name withstanding (their mics are named for famous cathedrals in Europe), they hand build a range of mics in their shop in Southern California. All of their current condenser models share the same Neumann M7 style capsule that they build in their shop, There are two tube models and an FET model. The difference between the tube models is with the output transformer and some capacitors. There’s one capacitor in the top of the line mic that costs $100!. They also have a ribbon mic and, yes, they make their own ribbons too. These guys seem to have a thorough understanding of how these mics work, build them to very high standards, and sell them at fair prices ranging from $2500 down to $1000. While they started out with a U47 design, their intent wasn’t to make a clone, but rather, to make what they believe to be sensible improvements while leaving the basic sound character alone.

Great River Electronics has had a compressor using a 400 kHz pulse width modulator (PWM) as the gain control element. This isn’t a new idea, but it hasn’t been very popular due to such reasons as complexity, cost, and that, since vintage PWM compressors didn’t work all that well, there wasn’t a good model to copy as a starting point. Modern components and design make it possible to build a compressor that introduces a lower level of distortion when changing gain than the more common VCA (voltage controlled attenuator) or LDR (light dependent resistor of “optical” compressor). The Great River PWM-501 PWM compressor has finally emerged from the workbench as a 500-series module. In addition to that format being very popular nowadays, eliminating the power supply and enclosed chassis brought the price into a more comfortable zone. Designer Dan Kennedy says that it takes some time and listening skills to learn how to use it correctly, but that if a transparent compressor is what you want, this one is a cost effective choice.

I picked up an interesting-at-first-glance book from the “we don’t want to carry these home” table at the Berklee Press booth entitled Project Management  for Musicians. By Jonathan Feist. It appears to cover just about every aspect of how to do business in the music business. If it’s good, When I get time to start reading it, I’ll write a review.

Well, that’s it for the show. When I get my brain unscrambled I’ll organize things, fill in some details, and put the whole show report together. Stay tuned.

Posted in Trade Show Reports

2014 NAMM Show – Day 3

Today was really crowded and really loud. If you’re one of those people standing in a long line to get an autograph or photo op with a famous artist, sorry for the wait. I asked someone near the front of a line how long he’d been waiting and he said “about a hour.” I hope they do something about those lines. They really clog up the aisles. And speaking of aisles . . .

Blue has a new microphone in the works. The Hampton is based on their B1 small diaphragm capsule from the Bottle series, but rather than a lollypop enclosure, it’s mounted in a short tube that’s separate from the main body and pivoted so that the body can point in one direction and the capsule in another direction. This can make for a cleaner mic setup where space is tight, like around drums, or facilitate mounting as an X-Y pair. Price and release date are unknown, but the Hampton will be available as a single mic or a matched pair.

Applied Microphone Technology (AMT) is probably best known for their saxophone mic that’s suspended inside a ring intended to be attached to the bell of the instrument. This year they introduced a new miniature cardioid mic with the characteristic AMT suspension with an assortment of attachments including one that clamps on to the body of an acoustic guitar, and a double mic assembly for placing one mic on the bell and one over the keys (where the real music comes out). A two piece holder allows the same double mic setup to be easily swapped between clarinet and sax for the musician who doubles on the instruments (but doesn’t get double scale to cover the cost of two complete mic systems).

Slate Digital introduced the Virtual Microphone System which includes one each large and small diaphragm custom built cardioid condenser mics, a dual channel preamp with digital output, and a DAW plug-in that models the sound of several combinations of famous mics and famous preamps, In addition to the “realistic” models, there are also instrument-specific presets that include some frequency response shaping and saturation distortion. I’ve always been skeptical about microphone modeling in software. It’s not too hard to get close to a target sound when the source is on axis, with little reflected energy coming in off axis. However, the model doesn’t know from what direction the sound is coming so it doesn’t know how to adjust the frequency response to model that of the response at a given off-axis angle. Slate’s approach to making the model work is to start with mics that are as flat as possible and have a smooth off-axis response. If you’re depending on using the off-axis response asw a tool, you can place the mic as you want it, then tell the model the angle that the primary sound arrives at the mic. By using a known microphone rather than the cheap one you have that you wish was an expensive one, the model can give a pretty good approximation of the frequency response at any angle to the primary sound source. There was one set up next to a Neumann U-47. Could I hear a difference? With all that racket at the show I probably couldn’t tell if the model was for an SM-57 (which it indeed models, using the small mic), but it’s an interesting approach to a technique that’s never really been quite what we dreamed it would be.

Back last year I reviewed the Cymatic LR-16 live recorder, a tabletop box that connects to a mixer though the mixer’s insert jacks and records up to 16 tracks to a USB disk drive, USB “thumb drive” or to a computer via USB. Arriving just in time for the show was the uTrack 24, kind of a grown up version of the LR-16. It offers 24 analog inputs and outputs  on DB-25 connectors, word clock in and out, and MIDI in and out. An internal mixer provides a stereo mix for monitoring while recording, and an Ethernet port connects to a computer or WiFi router for remote comtrol. Recording is, like the LR-16, to either an external USB hard drive or thumb drive, I talked about 96 kHz sample rate with the guy showing it and he said that it was possible with a reduced track count when recording to a USB drive, but would support the full track count when used as an interface to the computer. The poop sheet says only up to 48 kHz. There’s a large, clear LCD and a nifty metering system. There are 24 tri-color LEDs to indicate signal, good level, and clipping on each of the channels. When a channel selected, these LEDs become a single meter dedicated to the selected channel, offering very good resolution in the range close to full scale. Ambiguous record level metering is something that I comment on in just about every interface review I’ve written, and the uTrack 24 seems to solve that problem. When a track is selected, level and pan position I the stereo mix can be adjusted with a rotary encoder. It’ll probably be out in time for the Summer festival season, at a target price of $999.

ESI out of Germany offers a wide range of audio interfaces including some on PCI cards that they say are still selling well. It’s not a name you hear very often though. Somehow, at least in the US, nobody has pushed them very much, though they do have a USB audio driver that’s used by a lot of other interface manufacturers. New at this show is an 8 channel analog I/O interface that connects to the computer via an Ethernet cable using the Dante protocol. The hardware is bundled with a licensed copy of Audinate’s Dante Virtual Soundcard software which is, in essence, a driver so the device can be recognized by the computer’s operating system. The package also includes the Dante Controller, a routing matrix and setup. It’s still in the works, expected out in the second quarter of 2014 (you know that NAMM is an acronym for Not Available, maybe May) and will sell for $1000.

Finally, the cool little product for the day is the Power Supply Mini from J & H Technology of Shenzhen, China. This is an 8-output DC power supply for stomp boxes that is in itself about the size of a small stomp box, about 4.5 x 2.5 inches. Two outputs are adjustable over the range of 6 to 12 v, five outputs are fixed at 9v, and the final output is 9v but the polarity (whether the center pin is positive or negative) can be set with an internal jumper. It has a display which shows the voltage and the current drawn from the selected output. It’s powered by a 15v wall wart. You can’t buy one yet unless you’re in China. They’re looking for a US distributor.

That’s it for the day. Tomorrow is catch-up, maybe listen to one of the training sessions, and head for the hills.

 

Posted in Trade Show Reports

2014 NAMM Show – Day 2

Seems like today was interface day. Prism Sound showed the Atlas, big brother of the Titan which was introduced at the Fall AES show. They’re both based on the same basic guts, with the Atlas offering eight mic inputs to the Titan’s four. It connects to the computer via USB 2.0. In addition to the analog mic/line/instrument inputs and eight analog line outputs, it also has MIDI, TOSLink and RCA digital I/O with the TOSLink ports switchable between stereo S/PDIF and multi-channel ADAT optical. The RCA ports can be S/PDIF coax or  AES3 with an RCA-XLR adapter. Sample rates from 44.1 to 192 kHz are supported at 24-bit resolution. Price is about $7,000,

Centrance introduced the MicPort, a plug-in USB interface for a single microphone several years back, then spent a good bit of time making consumer products. At this show they introduced MixerFace, a USB recording interface with two mic inputs (the ones on the MicPort sound excellent) that’s sized so that a smart phone can be fitted on top of the case and connected directly to the A/D and D/A converters. A standard USB port is included for connection to a computer. The MixerFace is powered by an internal rechargeable battery. Interestingly, this was funded as an Indiegogo project and may still be able to be pre-ordered at a discount from the projected list price of $600 with a contribution.

Zoom introduced the TAC-2, a stereo tabletop “big knob” audio interface with  Thunderbolt (only) computer connectivity. A Mac application offers additional control via computer and includes an effects package as well as control over an internal mixer for mixing the input source with previously recorded tracks for overdubbing. Still in the mock-up stage from Zoom are 4 and 8 mic/line interfaces connecting via USB 3.0 (they didn’t know at this time about backward compatibility with 2.0). At the AES show, we were introduced to the new Zoom, who had taken over US distribution of the H6n recorder from Samson. They’ve now completed the transition and are now distributing the full Zoom line.

Crimson from SPL is a larger format tabletop USB interface that also serves as a monitor controller with a talkback channel. It has four line level analog inputs, two mic preamps, two instrument inputs and four analog outputs. Four inputs can be recorded simultaneously, as can four DAW outputs be routed to the two pairs of monitor outputs and two independently controllable headphone outputs. In addition to DAW playback, two alternate analog sources and one S/PDIF source can be switched to the monitor outputs to listen to a reference recording.

The iTrack Dock from Focusrite is a 2×2 recording interface with a docking surface for a new generation iPad Air or iPad Mini connected via Lightning. A clever sliding Lightning connector allows it to mate with and power/charge either size pad. There are two XLR Scarlett grade mic inputs, two ¼” line inputs, one instrument input, and a pair of ¼” jacks for monitor speakers. There’s also a USB port for connecting a keyboard controller when recording virtual instruments.  It comes with a simple recording app, but will also work with any recording program that will run on an iPad such as Garage Band or Auria. Resolution is 24-bit, up to 96 kHz sample rate.

Zoom had a new handheld recorder under glass, The H5n, when released, will replace the H4n, offering a pair of upgraded mics in X-Y configuration that are interchangeable with the plug-in mics offered as accessories to the H6n. Like the H4n, it can record up to four simultaneous tracks and includes a mixer which can be used for overdubs as well as mixing up to four recorded tracks to a new stereo file. Also new at this show is the Zoom Q4, a video camera targeted to musicians’ use. While it has similar applications to the Sony I saw yesterday, the Zoom has a swing-out screen that also flips over so you can see yourself when recording. For point-and-shoot recording and increased battery life, the screen assembly can be removed. It records video with up to 1080p and 24-bit audio up to 96 kHz sample rate. An X-Y stereo mic array with a bushy tail fur wind screen is supplied, and there’s a mic/line input jack to feed audio from an external source. There’s a one-step zoom, and a USB port allows transfer of files from the camera’s SDXC memory card to a computer, or to use the camera as a USB mic and/or webcam.

Lavry introduced two new products, the Quintessence Gold Reference Series D/A converter and a less fully featured (and lower cost) version of the Latency Killer LK-Solo, a monitor controller and input/DAW mixer. The Quintessence breaks one of designer Dan Lavry’s personal barriers and operates at sample rates up to 192 kHz. He’s previously written that a 192 kHz converter couldn’t be built with present components to be any better than a 96 kHz converter, but I suppose he found a way to make one that at least didn’t sound any worse, for those who insist on using the highest current standard sample rate. The LK-Solo provides truly zero latency input monitoring as an analog signal from the mic preamp output is mixed with a stereo return from the DAW for overdubbing. It includes a high grade headphone amplifier with output level adjustable in 0.5 dB steps

Audio Technica has upgraded their M-series headphones with new ear pads, some tweaks, and the addition of an “x” to the model number. The M50x is unchanged other than what minor change the new pads may introduce, retaining the sonic signature that made them immensely popular. The frequency response of the M40x has been flattened out further from the original model so it’s actually the most accurate set of the series.

QSC announced the TouchMix, a small format digital mixer in 8 and 16 input versions. As the name implies, primary control is with a touch screen, though there’s a big knob which can be used to adjust the selected parameter. This one still has some work to be done as the brochure describes more features than are presently accessible. It looks pretty good though, and well thought out. Each stage of signal processing has a simple and advanced mode that displays a minimal or full set of controls. A collection of “wizards” engage pre-set effects and (I suspect) EQ and dynamics processors for common sources. Input channels have a four band parametric equalizer, compressor, gate, high and low pass filters. All outputs have a 1/3 octave graphic equalizer, limiter, delay, and sharp notch filter. The 16 channel version offers six mono and two stereo monitor outputs with enough power to directly drive in-ear monitors without the use of an external headphone amplifier. The 8-channel version has four mono monitor outputs. There’s a USB port for connecting a disk drive for recording each input channel on a separate track, and there’s also a WiFi adapter that will connect directly to an iPad for full remote control of the mixer.

Digital Audio Labs was born in the early computer recording days and brought us the Card-D, the first really professional quality sound card, many of which are still in use today. They’ve been out of that business for quite a while, but have a new product this year, the Livemix personal monitor system. It handles up to 24 inputs and each stage box actually has two mixers and two outputs, allowing two players to share one box and reduce stage clutter. It works pretty much how you’d expect for this sort of device, with its own set of special features such as built-in stage ambience mics which can also be used to talk to other players on the system, effects, EQ, and presets for every channel, and an optional foot pedal for hands-free volume control. A remote function allows any station to control any other mix on the network. This allows a house or monitor engineer to adjust mixes (maybe wedges), and a dedicated “Me” knob to quickly adjust the volume of a previously selected input. Interconnection is via Cat5 Ethernet. Inputs to the system are analog with an optional Dante card for digital input.

Lastly, from the Gadgets department are the O-Knob and V-Knob, a replacement for the knob on an effect pedal or electric guitar that, rather than being round, has a pair of “wings” (think of an old fashioned can opener) or a single wing, that serve as a handle for quick or precise adjustment, as well as indicate the knob’s position. Simple, and could be very useful.

That’s all for Day 2.

Posted in Trade Show Reports

2014 NAMM Show Day 1

As usual, my first day was pretty scattered with little accomplished. Several press conferences with little information (when will I ever learn?) kept me running from one end of the convention center to the other all day. I tried to get through Hall E but only made it about half way. Hall E is the hall in the convention center where, traditionally, they put the new exhibitors, so it’s often the place where I see some interesting though often whacky products. Those that survive a couple of years usually get “promoted” to the upstairs main halls, but things have been a bit different the past couple of years. There are now a good number of established vendors there, some like it because it’s a bit quieter than in the main halls, other get “banished” there and grumble a little, and this year it seemed like about half the square footage was occupied by Asian manufacturs, both of parts and complete products. I tend to cruse by them with just a glance since they’re mostly targeted toward the smaller music stores (mics, stands, mixers, amplifiers, guitars and such) or are sources for parts (tuners, tailpieces, strings, cables) for builders. It’s impressive how many copies there are. Some are probably OK, some aren’t, but there’s no way to tell and not a lot of technical information available at the show.

So much for excuses. I did see a few interesting things today.

The Softube Console 1 was probably my favorite product of the day. As the name suggests (at least 2/3 of the name – no tubes or tube emulations here) it’s a software plug-in that models an SSL E series console strip – input section with input gain and low and high pass filters, compressor, gate, and equalizer, combined with a hardware control surface for that part of the console. Note that it has no analog signal path so you need an outboard preamp (which is likely in your audio interface), nor is it an analog summing box. In addition to the standard channel strip, it includes a transient shaper that’s similar to the one from SPL, and adjustable analog distortion in the output stage. The hardware part isn’t a DAW controller – it only operates ome channel at a time with a row of 20 buttons and a shift to select up to 40 channels, with one knob per function within each section. The idea is that even though it’s software, you get “the console experience” of dialing in a sound with all the controls in one place rather than having a bunch of open windows for each function, that you control with a mouse. While the sound closely models the sound of an SSL console, you don’t have to use it on every track in your DAW, and you can add other plug-ins to it just as you’d do with a real analog console. The plug-in supports VST, VST3, AAX, and AU formats and sells for about a grand including the hardware controller, which connects to the computer via USB, from which it’s powered.

Universal Audio introduced the Apollo Twin, a 2-channel version of their popular multi-channel Apollo audio interface. It’s a solid aluminum desktop sized box with a sloping front panel, a big knob, and several buttons, one of which quickly switches the monitor outputs between source and playback. It has two mic/line input channels with a high impedance instrument DI input on the front panel. There are six outputs, a main and an auxiliary pair on the rear and a headpone jack in front. Its 24-bit A/D and D/A converters operate at all common sample rates up to 192 kHz, and it’s designed to interface to a Mac via Thunderbolt. There are two models, SOLO and DUO, differing in the amount of on-board DSP hardware available for running Universal’s UAD Powered Plug-ins. New with this unit is Unison technology, an integration of the internal mic preamps and a UAD powered plug-in that models a number of different mic preamps. The preamp modeling isn’t limited just to what they can do in software, it also controls the input impedance and gain structure via analog hardware components. The Unison mic preamp plug-in is included with the Twin. The SOLO is $700, with the DUO adding another $200, which might be a smart buy if you plan to add more UAD plug-ins.

Yamaha introduced the third generation of their popular MG mixer series that incorporates a number of upgrades which add features, improve the sound, and make it more roadworthy. The chassis is now all steel, the circuit board has been beefed up, the controls are more solidly supported (they feel very good) and it’s now using the same discrete Class A mic preamp circuit as is incorporated in the Steinberg recording interfaces. The models have been juggled a bit with all but the smallest ones now incorporating a USB port for recording the main mix to a computer as well as a one-knob compressor optimized for vocals on 2 channels. There are both FX (with a built-in effect processor) and non-FX versions in most sizes. There’s a new MGP series that includes DSP effrects based on their SPX series of studio signal processors, a “leveler” designed to even out a set of pre-recorded tracks with uneven levels, eight of the compressors, and a “blend” channel which offers either a mono sum or a panned-in (by a fixed amount) stereo output for situations where you don’t want a full stereo spread.

TC Electronic introduced the Helicon VoiceLive 3, the next generation of their popular voice processing system. The new version, in addition to some upgrades to the vocal effects including new harmony modes and a vocoder, adds a guitar processor using effects from their TonePrint pedals, and also a phrase looper. The Helicon division has decided that singers are their primary target, so to support this, they’ve published a heft book entitled “The Ultimate Guide to Singing,” a collection of articles and frequently asked questions by singers,  with answers supplied by over 100 different singers. TC’s Tannoy brand of speakers hasn’t had much exposure in the US market recently (well, really, since TC took over the brand) but they’ve introduced a couple of new studio monitors tht are reminiscent of the popular Reveal series from the mid-1990s. There’s also a new powered speaker that’s designed as a singer’s monitor. It clamps directly to a mic stand and has a built-in reverb processor.

A few clever guitar notes: When I visited the Musical Instruments Museum in Phoenix a couple of years ago, I saw a video of an African street musician playing a home made guitar with the body made from a rectangular oil can. Bohemian Guitars, started by a player who comes from South Africa, recreated this novel instrument for commrecial sale. Although they have to manufacture cans since they can’t find enough used ones in good shape, they apply the principles of the makers in Africa in that they recycle discarded guitar parts such as tuners and pickups. They’re really cool looking and sound pretty decent.

The Roadie tuner is a variaton on the self-tuning guitar that’s starting to show up. this one is a hand-held motorized unit that slips of the tuning pegs, tuning one string at a time. It communicates with an iPhone app via Bluetooth. The phone’s microphone or external audio input jack detects the pitch of the string and the app tells the tuning motor which direction to turn and when to stop It suupports multiple tunings, and even keeps track of the elasticity of the string, reminding you when it’s time to change strings (as if you didn’t know). It only costs $99.

The Add String adds a seventh string to an acoustic guitar. It’s not an extra low string as with the typical 7 string guitar, but rather, doubles the 3rd string an octave higher, giving a strummed sound much like the “Nashville high strung” guitar that became popular in country music 20-some years ago. The kit includes a sort of one string tailpiece that fits around the bridge pins for the 2nd, 3rd, and 4th strings, plus a little clip that fits in the sound hole and lets you pull the high string out of the way when you don’t want it. Clever.

Sony showed a new Music Video Recorder, a hand-held fixed lens video camera with a crossed stereo pair of mics that’s designed for making music videos. It’s a high resolution format, 1920×1080 pixels and records in MP4 format. While it works fine as a stand-alone camera, it can connect to an NFC compatible (not all of them are) mobile device to provide remote control and remote display of the video, as well as the ability to transmit the recorded file to the phone for uploading directly to a web site or YouTube. About $300. In other Sony news, they now have an app for remote control of their professional wireless mic systems. The transmitter has always been controllable from the receiver, and the receiver has always had an Ethernet port, so with this app, the mix engineer can, for example, lower the transmitter’s mic gain if he hears the mic clipping.

Well, it’s long past my bed time, so that’s it for Day 1. More details to follow in the final report.

 

Posted in Trade Show Reports