Well, actually Day 2. As has been the custom for AES conventions in recent years, the first day is reserved for technical sessions and booth setup. Exhibits don’t open until Day 2. I did hear a couple of interesting sessions, one on microphone specifications and another on different approaches to DSP room correction.
Details will follow in a complete report, but here are some highlights from the first day’s exhibits. As has become a custom for me (not entirely by choice, it just happens this way) my first day with exhibits involves going to a few press conferences and a lot of aimless wandering on the show floor to see who’s there, who isn’t, and meeting people in the aisles and stopping to talk. Here are some highlights from Day 1
Avid’s new S6 control surface allows you to build your own control surface from modules that work with Pro Tools as well as other applications. The S6 comes in two flavors, one that accommodates up to 24 faders and a larger one that handles up to 64 faders. There’s a fader module, a knob module, a “process” module that selects what the knobs do, and an automation management section. There’s a “center section” that has a touch screen, plus an optional meter display.
Neumann has a new moderately priced (probably around $1500 on the street) multi-patter mic, the TLM-107. It’s similar in appearance to the TLM-102/103 but both the capsule and electronics are newly designed.
The Antelope Orion is a 32 input, 32-output USB audio interface that costs $3,000. In terms of cost per channel, that’s pretty amazing. And of course it has plenty of prize winning endorsers – and I don’t take that too lightly since Antelope has a reputation for designing very high quality products. They were one of the earliest to jump into the extremely low jitter clock generator field and the Orion takes advantage of that experience.
Latch Lake Music has been making seriously heavy duty mic stands for a few years now, and this year they introduced a new model that’s a bit like a K&M tripod base boom stand on steroids. It’s collapsible for easier transport, but with a boom that can extend 8 feet and sturdy enough to hang a microphone about as heavy as a small Thanksgiving turkey. Expected price is around $250-$300.
Sony has a new high resolution hand held recorder to replace everything in the line but the PCM-M10 which is still available. The new one records PCM up to 192 kHz, DSD at 2.8 MHz, has optical S/PDIF digital I/O, but still no XLR mic inputs.
The API Box is not a box at all, but rather a small format analog console with four mic/line input channels with 550A EQ, 16 recorder returns, and a couple of slots for 500 series modules in two of the four input channels.