Vintage King Audio recently hosted an immersive demonstration of the new AMS Neve BCM10/2 Mk2 console, which had its worldwide debut at the 139th AES Convention in New York City.

Robin Porter, the lead designer of the console, presented the demo.

Originally created in 1969 and released in 1970, the Neve BCM10 has since become a studio mainstay, thanks to its ‘compact form and classic sound.’ When making the decision to revive a console from Neve’s past catalogue, AMS Neve lead designer Robin Porter eventually decided to bring back the BCM10, while also adding some modern innovations.

Making its debut at AES 139, the console has already made a significant impact in the pro-audio world. Robin Porter explained the effort to bring back a classic desk, the challenges of the process and the unique changes that make this console ready for the studio of today.

"We saw the need for the best musicians and engineers, who love working on the 80-series consoles, to have better access to this legendary recording sound and format," he said. "The BCM10 is effectively a more compact version of the species, and has found great application in recent years as a side-car or main recording console for the smaller studio using DAWs."

Porter also commented on the components of the new console: "We decided to start with the BCM10 as the basic structure, complete with all the 1272 bus amplifiers and classic EQ and mic pre modules," he explained. "Then we added a whole treasure chest of convenience features for today’s way of working. And if a larger format is needed, the BCM10/2 Mk2 family is available in 16, 24 and 32 channel strips – giving up to 64 inputs. So it’s suited all the way from a home recording set-up with impeccable lineage and status, all the way to a full facility console."

Picture (left to right): Vintage King sales rep Dylan Wood, Robin Porter and Vintage King salesman Jeffrey Ehrenberg. Photo credit: David Goggin

http://www.ams-neve.com/

http://vintageking.com/

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Focusrite used the AES 139th Convention in New York to announce the launch of a new product in its popular RedNet range of Dante audio-over-IP products: the RedNet AM2 stereo audio monitoring unit.

RedNet AM2 is a Dante-compatible stereo monitoring unit combining headphone and line outputs for flexible monitoring of signals sourced from the Dante network. RedNet AM2 features a 1/4in front-panel headphone socket plus a pair of balanced line outputs with male XLR connectors mounted on the rear panel, which may be used for loudspeaker monitoring and other applications.

The headphone output promises significant audio output power, sufficient to drive even high-impedance headphones at substantial levels. RedNet AM2, fitted with non-slip feet, is designed to either sit securely on a flat surface or be mounted on top of a mic stand using a standard 3/8in BSW threaded bush in the base.

RedNet AM2 includes a two-channel Dante receiver based around the latest ‘Ultimo’ hardware – allowing up to 24 bit, 96kHz operation – and features an aluminium extrusion-based enclosure. Two large volume control knobs are provided for Headphone and Line output levels; the latter also features a mute button with associated LED. Other indicators show the presence of power, network and signal.

The unit may be powered either via PoE (Power over Ethernet) or via the 12V DC input barrel connector (universal power supply included). Dual etherCON connectors are included to connect the network and to daisy-chain to additional network devices.

RedNet product manager Will Hoult said of the announcement: “RedNet AM2 is a product our customers have requested and we’re pleased to deliver; allowing a reduction in the deployment cost of audio-over-IP systems for studio and education facilities, while the AES67 demonstration is an important aspect of the future of audio-over-IP which Focusrite is a key part of”.

RedNet AM2 is expected to begin shipping in Spring 2016.

http://www.focusrite.com

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AMS Neve is using the AES Convention in New York to launch the BCM10/2 MK2, an updated version of the classic BCM10 console that has become a favourite of many users as a ‘sidecar’ for larger studios.

The original was powered by Neve 1073 mic pres and EQ, along with 1272 summing mixers, and the new model offers all the design characteristics, genuine Neve modules and sound quality of its predecessor, but with additional convenient features for modern day recording, as well as a new 1952 switching unit.

The BCM10/2 MK2 Limited Edition is available in 10-, 16-, 24- and 32-channel configurations, each utilising Class A topology. Four Auxes, a Stereo Cue, and a Stereo Main Mix Bus are featured, in addition to three stereo and one 5.1 selectable loudspeaker output sets, two stereo reverb returns with width, mono and balance controls and two mono DI to bus inputs.

All models feature a ‘Comprehensive’ Solo system with destructive and safe/isolate modes, Main Mix output insertion with IMR (Insert Mix Return) parallel processing controls, and two 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the Mix Bus.

The BCM10/2 MK2 also boasts a monitor section feeding stereo and 5.1 outputs with passive 24 position gold plated monitor level control and easy installation thanks to 25-way D-sub connectivity.

First deliveries of the BCM10/2 MK2 are due to ship later this year.

http://www.ams-neve.com

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DPA Microphones is set to reveal its new d:screet Slim Microphone at AES 2015 in New York.

Developed in response to a growing need, especially from the film industry, for a near-invisible bodyworn microphone, d:screet Slim features the company’s omnidirectional capsule element in a flat head, a slender cable and a new button-hole mount accessory. Currently in beta-test stages, the new solution is already gaining rave reviews according to the manufacturer.

The microphone’s new button-hole mount, which comes as an enclosed accessory, provides a 90° sound input angle, allowing the cable to lay flat against a surface rather than sticking straight out. It is also designed to fit into a space as small as two millimetres. The combination of the size and available accessories increases the number of mounting solutions as it can be placed ‘virtually anywhere without being seen’.

“After speaking with our users and colleagues in the industry, we took a closer look at how microphones were being concealed and developed a completely new and unique way we could address this requirement,” explained Mikkel Nymand, product manager for DPA Microphones. “The result was a microphone that is more easily hidden under clothes, a big necessity for television and film production. The nice thing about the new design is that it leaves a flatter footprint, but with the same high-quality sound for which DPA is known.”

The d:screet 4060 capsule with high sensitivity and the 4061 capsule with low sensitivity used on the d:screet Slim promise exceptional audio quality with low self-noise. As with all DPA microphones, this latest solution is compatible with all major wireless adapters. It is available in four colour options – beige, white, black and brown. A refinement of DPAs currently available concealer solution is in the works as an added accessory, which is one of the many accessory solutions that DPA is currently developing.

“Most sound professionals are already familiar with DPA’s d:screet solution,” added Nymand. “The d:screet Slim will now provide them with infinitely new possibilities. We’re especially excited to reach audio professionals who have always wanted the DPA sound, but needed an even more unobtrusive solution.” 

http://www.dpamicrophones.com

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At AES New York 2015 on Booth 227, Solid State Logic will launch βeta, a 500 format module hardware development kit that offers ‘SSL style, quality and some SSL specific components to the community of ‘build your own’ audio electronics enthusiasts.’’

βeta features a self-illuminating perspex front panel that allows enthusiasts to devise and build creations for their racks with a window through to their electronic creations within. The panel is supplied with a collection of components that are identical to those used in SSL’s large format consoles. The kit includes five log, antilog and linear pots (including centre detent versions) with SSL’s knob caps, a selection of two and four pole switches and dual colour status LEDs.

The components mount within the front panel in a fixed configuration but are freely assignable to any function. The panel and controls attach to a blue solderable breadboard with a standard 500 format edge connector and is supplied with resettable fuses. None of the elements of the βeta HDK are pre-assembled – it is a kit of parts for users to assemble from scratch. Additional components, such as potentiometers with alternative laws and tapers, can be purchased through SSL’s online store.

SSL βeta is intended as a ‘blank canvas’ upon which users can create their own audio processing ideas, and will be available next month exclusively from the SSL online store.

http://www.solidstatelogic.com

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PMC is bringing what it’s calling ‘the ultimate in main monitoring’ to the 139th AES Convention in New York (29 October – 1 November), in the shape of a brand new addition to the QB1-A Active Reference Monitor range.

Larger than anything the company has ever manufactured before, the company has described the new QB1-XBD-A as ‘a statement monitor that has no equal in terms of sheer power and resolution.’

With the impetus for the design coming from high-profile PMC clients, the model on show at AES can be seen and heard in PMC’s Masters of Audio space at the show (Room 15) and will go into full production in 2016.

To create the QB1-XBD-A, PMC has re-engineered its flagship QB1-A Active main studio monitor launched last year. For this new version, PMC has added a further cabinet (the XBD) per channel. This contains four identical piston drivers, each driven by four 1,000W independent class D power amplifiers, resulting in 8,825W of ‘ultra-clean’ power per channel.

The latest iteration of the company’s Advanced Transmission Line (ATL) bass-loading technology ensures a low-frequency response down to 20Hz, while onboard DSP provides driver unit optimisation, EQ and sophisticated crossover networks. With its twin-stacked cabinet design and 3dB more headroom that the single-cabinet QB1-A, the QB1-XBD-A promises ultra-low distortion, a forensic sense of detail and incomparable dynamics and transience throughout the entire bandwidth.

In keeping with the QB1-A, the QB1-XBD-A features wired RJ45 desktop control, designed to provide user-friendly access to EQ settings via its backlit display and jog wheel, and the ability to store up to four user setup presets. The speakers can be used soffit-mounted or free-standing.

"We saw that there was a gap at the very high end of the market," said Oliver Thomas, R&D project manager at PMC. "In the main, the current products on the market don’t offer the flexibility of analogue and digital inputs, and suffer from giving listeners an insufficient sense of resolution, compared to what can now be attained with good Class-D amp design and DSP-aided crossover management."

The QB1-A range also employs recent advances in PMC’s transmission line design concept, as used in the company’s IB2 midfields and twotwo nearfields, to achieve more efficient, high-performance designs. Extra bracing and damping inside the speaker cabinet prevents noise and reduces resonance to insignificant levels beyond the limits of human audibility, while the newly introduced vertical strakes in the transmission line add further bracing and simultaneously reduce turbulence in the throughput airflow, making it laminar and contributing to a faster, more dynamic sound, according to the firm.

At AES New York, the new QB1-XBD-A monitors will be shown as part of a 9.1 immersive sound surround system for high resolution audio surround presentations. Among the events already scheduled for the Masters of Audio room is an AES presentation on 9.1 surround sound, a presentation by legendary mastering engineer Vlado Meller, featured in AMI‘s June 2015 issue, a Blu-ray Album launch presentation from Sono Luminus (Dan Shores/Morten Lindberg/Stephan Bock) and a presentation from Ozark Henry (mixed by Ronald Prent/mastered by Darcy Proper for Auro 3D).

http://www.aes.org/events/139
http://www.pmc-speakers.com

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Merging Technologies is celebrating 25 years in the business with a range of announcements in preparation for its appearance at the AES Convention in New York from the 29 October – 1 November.

Recent successes for the company include the shipment of the 500th Hapi; the launching of its high-end home audio brother, NADAC; the 10th iteration of Pyramix complete with integrated 3D audio workflows; new versions of Ovation and VCube and a development for Horus and Hapi.

Merging has announced it has streamlined its Pyramix bundles in order to remove rarely purchased combinations. Additionally, any purchaser of Horus or Hapi before the end of 2015 will automatically receive a Pyramix Essentials pack included, and will be offered an upgrade to a more advanced pack for the retail price of the free pack. 

With the company’s transition to 64bit processing for all software programs, Pyramix 10 and Ovation 6 now offer 3D panning that can manipulate the audio to any number of speakers in any position in a room of any size, as demonstrated at ISE this year.

Following the news that Merging and CEDAR Audio have entered into a non-exclusive license agreement, the manufacturer has also lifted the curtain on the new CEDAR for Pyramix 64 plug-in suite which boasts enhanced features compared with the former CEDAR Tools offering. In addition to Retouch 7, Auto and Manual Declick, Auto Decrackle, Auto Dehiss, and Dethump have all been improved and benefit from the 64bit transition. Other 64 bit VS3 plug-ins from long term Merging partners such as Flux, Dirac, Vincent Burel, Voicode and Algorithmix are all now available and with a range of VST plug-ins allowing an array of effects.

The firm has also begun shipment of its PT64 card, in response to the increasing popularity of Horus and Hapi in the Pro Tools community. PT64 takes one card slot in Hapi or Horus and offers a 64 channel bi-directional connection. The cards can be doubled up to provide 128 channels in a single device. In addition, PT64 brings Pro Tools into the RAVENNA/AES67 world, as well as being able to utilise the array of digital I/O that comes as standard on these converters.

Acording to the firm, Independent Audio has continued to ship an ‘unprecedented’ quantity of DSD capable recording systems as the popularity of DSD/DXD downloads increases steadily. In response, the company’s Product specialist, Dennis Gaines, will be joined at the 139th AES in New York by Merging’s president, Claude Cellier and head of software engineering, Dominique Brulhart. Demonstrations of all the Merging range of products will be available on the show floor.

Cellier commented: “You are never sure what each year will bring but we could not have planned a better time to reach our quarter century. Pyramix still advances year by year and V 10 is a significant release for us; Ovation sales are growing well; 500 Hapi units shipped; the successful launch of NADAC. I think we can certainly claim that 2015 is a vintage year for Merging.”

http://www.merging.com

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AES has revealed more info on this year’s programme of special events and professional presentations at the 139th International Convention from 29 October – 1 November at the Jacob Javits Center in New York City,

On the first day of the Convention the AES will hold its opening ceremonies featuring presentations by AES 139th convention chairs Jim Anderson and Paul Gallo, AES president Andres Mayo, executive director Bob Moses, and the AES awards committee. The opening ceremonies will be capped off by the keynote address from Oculus chief scientist Michael Abrash.

The activities continue with a Platinum Latin producers and engineers panel hosted by Andres Mayo, as well as “Producing across generations: New challenges, new solutions – Making records for next to nothing in the 21st century,” moderated by Jesse Lauter, which takes a candid look at the business of maximising modern production contracts and budgetary considerations.

Friday offers another full day of free-to-attend panels and events, beginning with the Platinum Producers panel, “The big payback,” hosted by Errol Kolisine, and a presentation by the AES’ next president elect Alex U. Case, titled “The rocket scientist in the recording studio,” exploring the achievements and techniques of Saul Walker, API co-founder and former chief engineer. Other featured events include the Platinum Engineers panel hosted by SonicScoop’s Justin Colletti, and a discussion moderated by Howard Massey on “The Great British recording studios,” as well as the return of the DTVAG (Digital Television Audio Group) AES Forum where the latest issues in broadcast audio will be analysed following a keynote speech from Tom Sahara, DTVAG chairman emeritus and Turner Sports vice president, operations and technology.

Saturday’s events at the 139th Convention kick off with the AES Platinum Mastering panel hosted by Bob Ludwig, followed by a panel discussion hosted in collaboration with The Recording Academy Producers & Engineers Wing titled “Your credits, your money, the new data standards and DDEX — What you need to know!” hosted by Paul Jessop. The day continues with a broadcast audio theme, beginning with a lunchtime keynote from television game show broadcast mixer Ed Greene, followed by the Grammy SoundTables presentation, “After hours — Mixing for late night TV.”

The convention’s exhibition floor will remain open until 4pm on Sunday for attendees to network while browsing the audio equipment and services being represented.

“With such a diverse and engaging group of presenters and events, we hope that everyone will take advantage of our free Exhibits-Plus badges and really take a look at what the AES Convention has to offer,” stated AES executive director Bob Moses. “These events, which have been wildly successful year-after-year, along with our Live Sound Expo, Project Studio Expo and hundreds of exhibitors, offer an amazing experience for everyone involved with, or interested in, audio. And those who wish to take it to the next level with the All Access badge are offered a penetrating look down the rabbit-hole into the inner-sanctum of audio research and development – a truly unique opportunity.”

AES also announced the content of the returning Live Sound Expo programme earlier this year. 

http://www.aes.org

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The upcoming 139th International AES Convention has revealed more information regarding its Technical Programme, including papers, tutorials, workshops and more.

The AES139 Convention will offer a diverse range of events providing access to the latest technologies and techniques in the fields of recording and production, live sound, broadcast and streaming, mixing and mastering, audio for gaming, system integration and other leading topics.

AES139 will also offer three full days of pro-audio manufacturer exhibition, as well as free specialised presentations on the convention’s Live Sound Expo (LSE) and Project Studio Expo (PSE) stages.

Papers, tutorials, and workshop presentations in the AES Convention Technical Programme represent the latest scientific and in-the-field research of audio concepts and applications.

Paper topics this year include timely subjects ranging from Audio Education and Forensic Audio, to Cinema Sound, Sound Reinforcement, Spatial Audio and more.

Tutorial topics are slated to include ‘Interactive Music: Past, Present and Future’, ‘Main Microphone Techniques for 2.0 and 5.1’, ‘Listening Tests – Understanding the Basic Concepts’, and other in-depth topics of interest.

Additional topics in the Workshop series will include ‘Low Frequency Behaviour in Small High Accuracy Listening Environments’, ‘Perceptual Evaluation of High Resolution Audio’, ‘AES67 Interoperability Testing’, ‘Hot Topics in Intellectual Property’ and more over the convention’s four days.

Many facets of the AES139 Technical Programme are directly linked to the series of specialised, topical Tracks, which offer direction to related events and presentations in a specific audio field. This year’s Tracks, representing several of the major areas of focus for attendees, include Archiving and Restoration, Broadcast and Streaming Media, Game Audio, Live Sound, Networked Audio, Product Development, and Recording and Mastering.

AES139 also offers opportunities to network with peers on the convention floor, as well as through the offsite tech tours and other events around New York City, hosted by exhibitors and sponsors. Opening Ceremonies and other special events, including keynote speakers, the annual Heyser Lecture, and a large student and career development exhibition area further add to the community aspect of the convention.

“This year’s AES Convention programme is set to be one of the largest and most in-depth in recent years,” remarked AES139 convention co-chair and technical programme committee chair, Jim Anderson. “The committee has put together a very timely and important set of presentations for our return to New York City, with the hope of reaching every attendee on a level that inspires and enlightens them. Once again, our Convention will serve as the hub of professional audio ideas and innovations for the international community.”

AES 139 will take place on 29 October – 1 November, 2015 at the Jacob Javits Center in New York City. Advanced registration pricing is still available, as well as free Exhibits-Plus badges.

http://www.aes.org

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AES has revealed more info on the lineup of its Live Sound Expo at this year’s 139th International Convention, which kicks off on 29 October and runs until 1 November at the Jacob Javits Center in New York City.

Following its successful debut at last year’s AES Convention in L.A., Live Sound Expo (LSE) returns bringing keen insight and expert advice to live sound engineers of all types, from installed sound to Broadway to touring sound.

This year’s Live Sound Expo will cover topics ranging from live sound in theatres, music venues and houses of worship and will address key topics such as how the changing state of wireless audio will affect professional users, how virtual sound checks and networked audio are combining to create a more efficient workflow for live sound engineers, and live sound console and microphone design and use. Sponsors for the event include Cadac, Clear-Com, DiGiCo, DPA Microphones, EAW, L-Acoustics, Optocore, Sennheiser, Waves Audio and Yamaha.

LSE will be broken up topically across the three days, each addressing important segments of Live Sound and Sound Reinforcement, with dedicated programs consisting of presentations and panels featuring industry leaders.

Broadway Day (Friday, 30 October) is devoted to live sound in the theatrical environment, with topics slated to include Theatrical Vocal Miking; Wireless Issues for Live Theatre: Broadway and Beyond; Theatre Sound System Design and Optimisation; Theatrical Console Automation; Networking For Theatre; and Theatrical Sound Design.

The Word And Music: House Of Worship Sound/Fixed Install Day (Saturday, 31 October) offers a range of HOW and venue installation presentations including topics such as Speech Intelligibility: Contributing Factors; Miking Grand Piano and Choirs; Mono vs Stereo vs LCR in HOW and Fixed-Install; IEM Fundamentals and Hearing Conservation; The Future of Wireless: Now What?; and Modern Digital Mixing Console Fundamentals: A Practical and Ergonomic Approach.

Tour Sound Day (Sunday, 1 November) will cover the latest in tour sound technologies and techniques, with presentations slated to include Virtual Sound Checks And Processing In A Networked Environment; Shed and Arena Loudspeaker Optimisation: Pulling Big Shows Together; Choosing the Right Vocal Mic; and Talking with the Artist: Sharing the Vision.

Veteran live sound engineer, writer/editor and Live Sound Expo host, Mark Frink commented: “AES in New York was where I introduced a Live Sound Loudspeaker Networking Users Group in 1987 at the 83rd convention, and it has always been a destination for professional live sound, where it’s the only pro audio trade show to address standards and professional papers, while showcasing demo rooms and new products,”

AES executive director Bob Moses concluded by saying: “We like to say that if it’s about audio, it’s at AES, and with the success of the Live Sound Expo and similar initiatives, we feel that this is truer than ever.”

AES also announced the return of another successful event last month. 

http://www.aes.org

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