Another hot and sticky weekend in Nashville, and another Summer NAMM show.  This show was ripe with expectations, but not a lot of new products.  The inexpensive large capsule condenser mic boom seems to have leveled off (George Petersen of Mix took a count and commented that there were 57 new ones in the past year), but vocal processors (mic preamp, compressor, EQ all in a box) seem to be lurking around every corner.  This year's "me too" race seems to be among sub-$1,000 powered near field monitors.  Expect to have too many choices within the next few months.

Enough philosophy!  On with the show.

Mics and Mic Stuff

Alesis GT (formerly the microphone side of Groove Tube Electronics) has been having pretty good success with the line of large format solid state and tube condenser mics introduced back in January, so this month they introduced a pair of small format (3/4" capsule) front-address condensers.  The AM30 and AM40 share the same capsules and body style but differ in electronics.  The 30 is the FET version while the 40 has a tube amplifier.  Specs are similar for frequency response, both incorporate a switchable 10 dB pad and 80 Hz rolloff. The tube version has slightly higher sensitivity and 10 dB lower maximum SPL with a bit higher self noise.  It also has somewhat lower output level for 1% THD giving it somewhat less headroom than the FET version.  These are differences to be expected between the two different types of amplifier.  Cardioid capsule is standard, but omni and hypercardioids are available as interchangeable options.  Also new from the Alesis mic shop is the AM11 class A FET large diaphragm condenser mic.  This is a single pattern (cardioid) mic designed at a lower cost than the original.  Retail price for the AM30 is $499, the AM40 is $799, and the AM11 seems to have hit a new low price for this type of mic at an incredible $399.  Delivery is predicted for this Fall. http://207.158.208.27/products/mics/index.html

Audio-Technica's new entry is the AT4047/SV, a large capsule FET condenser mic designed to represent the "47" sound quality, a little darker than their current top of the line AT4050.  The 4047 is similar in appearance (I suspect the same body) as the low priced 4033, but has a new capsule, new electronics, and incorporates an output transformer in an attempt to achieve the "vintage large condenser" sound.  No comments on the sound at this time (this was a noisy show), but it should be on the shelf by now, so if you're looking, give it a listen.  AT has always provided good performance for the money over a pretty wide price range.  The 4047 comes with a nice sturdy shock mount, and the first production lot includes a cool Fender tweed carrying case at no charge.  Retail price is $695. http://www.audiotechnica.com/prodpro/profiles/AT4047SV.html

Drum mic sets are becoming popular - a box with an assortment of the manufacturer's choice of modest priced mics  for micing up a drum kit. This is convenient for dealers who may not have the knowledge to recommend the best mics in a given price range for the application as well as for beginners who are looking for a solution for drum micing that's as straightforward as "large condenser mic for the vocal". Audix has had a package for a while, and now Sennheiser, CAD, and Audio-Technica have jumped on the bandwagon. These kits typically contain three to five mics, at least one of which has response tailored for kick drum, a few snare/tom mics, and possibly a pair of overheads, usually priced around $450 to $600 for the set.  These kits don't usually contain top of the line mics, but they're workable choices.  Audio-Technica has an interesting twist.  The mics in their KP Drums kit aren't available on their own, only as part of the kit. Recognizing that tuning drums is as important as micing them, A-T tucks a cute plastic drum key into the kit.  Take a hint if you already have a drum mic kit and put one in there yourself.

Sony and Sennheiser both introduced new wireless mics for the performing vocalist.  The Sony WRT-807A transmits on 94 synthesized channels in the 800 MHz range and incorporates the Sony F780/9X dynamic mic element in an integrated hand held package.  List price (receiver not included) is $799.  For the same price, the WRT-808A is a wireless transmitter with an XLR connector designed to plug on to your favorite dynamic stage mic, converting it to a wireless.  For the corporate/wedding camerafolk, Sony has the WRR 805A UHF wireless receiver that's small enough to mount on a video camera without restricting the camera operation.

Sennheiser introduced the lower cost Digital 1000 series of wireless mics designed for stage performance.  These are UHF systems designed for simple setup.  The receiver contains four internal antennas for diversity operation, with connectors for external antennas if desired. The mics and receiver are analog, but the audio is digitized in the transmitter, transmitted as a digital, and converted back to analog in the receiver.  Analog wireless mics traditionally have used companding (compression of the signal before modulation, expansion after detected by the receiver) to improve the signal-to-noise ratio, similar to noise reduction used with analog tape.  One of the hardest things about making a good wireless mic is to make a companding system that's aurally transparent.  Few get close, but most have a characteristic that you'd like to lose.  The digital mics don't require companding to meet similar noise specs.  Of course you have the characteristics of the A/D and D/A converters to worry about, but reasonable 16-bit chips are available at low cost today, so this should be a good performer. http://www1.drive.net/sennheiserusa/pages/index-prod.html

And now for the stuff.  A $300 pop screen?  Transamerica Audio Group is still deciding whether this will fly in the US, but it was there on display.  This one is about the same size and form as the common nylon mesh pop screens available for around a tenth the price, but instead of mesh, the screen looks and feels like very light, thin foam. There's one piece on each side of an aluminum ring with holes drilled around its circumference.  Nothing special here, but importer Brad Lunde says it works better than any other screen he's ever tried, and doesn't change the sound in the slightest.  Not for everyone, but when you run out of things to spend money on, this one has had some glowing reports from a few brave users.

Do you habitually drive over your mic cables?  Now there's a solution - the Samson Armoured (with a "u") Cable.  This stuff looks like the kind of cable that's used to vandal-proof the handsets on pay phones, decent quality cable terminated with Neutrik connectors.  As well as making them impervious to normal stage hazards like cabinet wheels and fork lifts, the spiral armor reduces tangling.  They also make the same armored cable with 1/4" phone plugs for instrument connections.

Sabra-Som is a Brazilian company that's just starting to come into the US with a line of nicely made microphone accessories.  There's a universal shock mount reminiscent of the Tensimounts of 20 or so years ago.  It's a pair of rings, each strung with a criss-cross of elastic bands through which you thread a mic.  It will support anything from a slim measurement-style mic up through a 2" diameter condenser.  It's highly adjustable so the rings can be spaced for good balance and to put the elastic on a good holding surface of the mic.  They also offer a very adjustable stereo mounting bar and a pop screen with lots of way to attach it to a mic, stand, or shock mount. h ttp://www.sabrasom.com.br/ing/produtos.htm

The Flector Personal Monitor Disk from Clearsonic is a disk of transparent plastic 8 or 12 inches in diameter that's designed to mount directly behind a mic and reflect some sound back to the singer or player, and to serve as a baffle to reduce bleed.  There's not much to it other than a clever idea.  The disk has a 5/8" diameter hole slightly below center. The mic stand (a short gooseneck is recommended to ease positioning) thread slips through the hole and screwing the mic clip on to the threads clamps the disk in place.  A larger hole slightly above center provides clearance for the mic connector and cable.  Unlike the $300 pop screen, this will undoubtedly change the sound of the mic, but if it solves one problem, perhaps the problem it creates in the process will be an easier one to deal with.  http://www.clearsonic.com/

Mic Preamps and Processors

The flurry of stand-alone preamps seems to have died down, but Millenia Media came through with a couple of new items. Their HV-3 preamps have long been appreciated by those who seek a pure, uncolored sound.  New this year is the HV-3D-8, an 8-channel version of this preamp.  It's about as straightforward as they come, just 8 channels of very clean and quiet gain in a single package.  Phantom power, of course, including 130 V for B&K measurement mics.   One characteristic that preamps seem to acquire when putting more than one or two in a box is that, due to physical layout, there's almost always one channel that's measurably (though not necessarily audibly) noisier than another, and reviewers usually seem to pick up on that.  Designer John LaGrou put extra effort into this package so that he could put the power supply in the box and not compromise the noise performance of any of the channels.  He says he's done it with this one. 

An interesting option is DC coupling on the input.  There are two philosophies of mic preamp design, transformers and transformerless with blocking capacitors to keep the phantom powering voltage off the electronics.  Each has its own set of advantages, and  John's a transformerless kind of a guy.  Thing is that if you don't need phantom power, you can get rid of the capacitors, improve the sound, and more accurately match the mic to the preamp.  This is particularly significant when using ribbon mics.  There was a Royer mic standing atop the HV-3D-8 on display at the show, if that's a hint. http://www.mil-media.com/

The only other straight preamp worth mentioning was the Joemeek VC7 dual mic preamp.  Designer Ted Fletcher prefers the transformer sound, so this preamp has input transformers.  There's an input gain control as well as an output level control so it will match up well with just about anything that follows it.  It's the traditional Joemeek green with attractive and reasonable-responding VU meters to aid in setting gain.  A switchable high pass filter at 25, 50, 75 and 100 Hz is provided as well as a unique impedance matching switch.  It's known that the impedance that a mic sees when looking into a preamp has a noticeable affect on the mic's sound, so this preamp offers a choice of input impedances to match the mic in use.  The 50 ohm position is optimum for ribbon mics, a 200 ohm position recommended for most dynamic mics and externally or battery powered mics condenser mics. Two other selections match solid state transformerless mics like the Rode NT series, Neumann TLM, and Audio-Technica mics or transformer output condenser mics such as the traditional Neumann U and older KM series.  Finally, a 600 ohm position is designed for some of the European mics that like a higher input impedance.  This is probably something best fiddled with to see what sound you like.  The VC7 also includes an M/S encoder/decoder to allow recording left and right from an M/S stereo mic pair, as well as record the M/S signals while monitoring left and right.  At $1300, this is an interesting unit, worth a listen under better conditions than a trade show floor. http://www.joemeek-uk.com/products/vc7info.htm

At the top end of this show's crop of mic processors is the newest in the Millenia Media Twin Topology series, the STT-1 (for Straight-to-Tape) Origin Tracking System.  The TT series (there's a compressor and equalizer already) uses just a single active stage in the audio signal path and gives the user a choice of class A active elements, either discrete solid state or tube.  The STT-1 provides a mic preamp that's either the solid state HV3 or tube M2B circuitry with input selectable between mic and line level or high impedance to match an instrument pickup and serve as a DI.  Following is a three band parametric equalizer and an optical compressor with a switch to select between tube or solid state operation.  Another switch selects which comes next in the chain, the EQ or the compressor.  A de-esser follows, and finally an output gain control.  This is top grade stuff, hard to beat either sonically or in appearance, though the Millenia line will be getting a cost-saving facelift shortly - still beautiful but not quite as elegant (the elegant brushed pewter and sculpted controls and panel will still be available at extra cost). http://www.mil-media.com/

The new Drawmer MX60 Front End is a mid-priced ($649) single channel mic processor with a couple of unusual features that separate it from the pack.  It's sort of a "greatest hits" product, drawing circuitry from other successful Drawmer units.  The preamp is taken from the 1960 preamp/compressor, while the VCA compressor stage is from the MX30.  Mic and line level inputs are on the rear, while an instrument (DI) input is conveniently placed on the front panel, with a bright switch for instruments and a 100 Hz low pass filter.  The dynamics section is straightforward and fairly idiot-proof.  There's a single threshold control for a gate with a single button to select a slower release time.  The de-esser has what's probably a politically incorrect "male/female" switch to select the frequency of the side chain filter as well as a control to select the amount of de-essing. The compressor has only threshold, compression ratio and gain makeup controls, adjusting attach and release times dynamically to suit the program material.  The equalizer section has fixed frequency high and low shelving with a fully parametric mid-band control sweepable from 250 Hz to 15 kHz.  Following the equalizer is sort of another equalizer, a three band tube saturation simulator which was borrowed from the Masterflow mastering processor.  Boosting any of the three bands is a little like an equalizer only a little different.  Used judiciously this could be the "digital warm-up" section, or the "crunchy amp" section.  http://www.transaudiogroup.com/

The EnVoice front end processor from Mindprint has been available in Germany for a while, but is just now being imported into the US by Steinberg North America.  The EnVoice starts with a solid state mic/line/instrument preamp. Following this (I think) comes a three band equalizer similar to that on the Drawmer MX60 with a fully parametric mid-band section sweepable from 100 Hz to 10 kHz.  The high and low bands have a peaking characteristic shape with center frequency sweepable between 20 and 300 Hz on the low end and 1.6 to 22 kHz on the high end.  The compressor uses a VCA element for compression followed by a tube output stage with adjustable saturation  there's no de-esser, but there's a switchable low frequency filter in the compressor side chain that reduces compressor action below 300 Hz.  The basic unit is $800, with a 24-bit digital I/O option available for an additional $200. http://www.mindprint.com/Products/mindprint_products.htm#En-Voice

Joemeek's gotta have about the most confusing product numbering system in the business.  New this year is the $600 VC6Q Meekbox mic processor, which actually has more in common with the older VC3 than the VC6.  This is the familiar Joemeek aggressive optical compressor sound with a mic/line/instrument in front and a three band equalizer on the back end.  The compressor has adjustable attack, release, threshold and ratio controls.  The equalizer is from the ME5 equalizer with low and high shelving and sweepable midrange. There's an insert send and return between the mic preamp and compressor so you can insert something else in the chain at that point if you wish, or use the preamp "barefoot". http://www.joemeek.com/joemeekvc3new.html

Last but not least in our mic processor marathon is the PreSonus VXP. Its mic preamp is similar to the preamps in the other PreSonus units featuring a Jensen transformer at the input, and their own IDSS control which provides some triode-like distortion from the FET input stage.  The compressor comes from their Blue Max with 16 presets in three ranges, "light", "medium", and "heavy".  It's followed by a simple expander and a de-esser with its operating frequency sweepable between 800 Hz and 8 kHz.  The equalizer has four bands; high and low frequency shelving, and two mid bands with sweepable frequency and a low/hi Q switch.  There's a brick wall peak limiter at the output as well as an output level control.  Like the Joemeek, there's an insert jack between the mic preamp and compressor.  There's an optional 24-bit digital output for connection directly to a workstation or digital recorder. http://www.presonus.com/PreSonus__Products/PreSonus__VXP/presonus__vxp.html

Signal Processors

Since the Antares Autotune came out last year, they've been jumping off the shelves and people are making recordings with vocals that are perfectly in tune.  Now, t.c. electronic has an alternate, the Intonator.  This is a simple and intuitive vocal pitch corrector which, for normal Western scales, requires only setting the key in which the song is being sung, and crank in how hard you want it to work.  A set of buttons arranged in the pattern of a piano keyboard allow the musically literate to easily set the key.  (they're labeled, too, for us guitar players)  An indicator beside each note button lights when that note comes in so you know what it's working on.

There's a manual pitch wheel which you can ride if you think you can do better than the algorithm, or it can be controlled by incoming MIDI data so you could "play" the correct pitch on an external keyboard. Normally it works on anything that falls within the window that you've s et, but if you have a singer who's normally on pitch except for a specific note, you can set it to work on just that one note and ignore all others.  The algorithm (at least presently) only knows about major and minor scales.  If the song uses "in-between" notes (we don't all sing on the same scale), you can set up custom intervals for every note.  And as long as you keep the pitch correction window small enough so that it won't think you're a half step off, it'll work in any harmonic mode.  For  cleaning up the vocal track, there's a de-esser and a tracking low-cut filter which assures that applying low-cut filtering won't filter the low end out of the desired signal.

Although the unit has two inputs and two outputs, it's really only a single channel pitch corrector.  The suggested normal mode routes the input from one channel to two paths.  One path contains the pitch corrector, de-esser, and low cut filter, going to one output channel. The second path contains just a delay that which delays the signal the same amount as the pitch-correcting processor (approximately 15 msec), giving both a corrected and an uncorrected output so you can easily check what it's doing.  An alternate dual mode routes one channel through the pitch corrector (only) and the other channel through the de-esser and low cut filter.

The unit uses the pitch correction algorithm and chip developed by IVL, but both the user interface and signal interfacing are all t. c. While it's not a "Wizard" type user interface (it's not all that complicated), most of the operation is with dedicated controls.  As an aid to finding the right window settings, a display shows the pitch of the input relative to what it thinks is the note as well as the amount of pitch correction applied.

Analog I/O is on balanced XLR connectors with a nominal operating level of +4 dBu, but with enough input gain to reach 0 dBFS with an input level of -10 dBV, so it can be interfaced with systems using lower operating level.  It doesn't have a mic level input, nor would it make much sense to have one as its throughput delay is too long to be used in real time.  Digital I/O is at 32 to 96 kHz up to 24-bit word length on AES/EBU, optical and coax S/PDIF, and ADAT optical (your choice of any two tracks), and there's a word clock input to synchronize it in a large system.  Output dither can be set to provide word lengths from 8 to 24 bits.  t.c.'s converters have always been first rate, and there's no reason to believe these aren't also.  There should be no worry about going in or out analog, and it might even become your preferred converter with the processing turned off. http://www.tcelectronic.com/

The Drawmer DC2476 Masterflow mastering processor which was first introduced at last year's  San Francisco AES show is finally ready to deliver.  This is a unit that's clearly aimed at the same market as the t.c. electronic Finalizer, providing stereo expanders, compressors and limiters all operating within three definable frequency bands. There's a five band parametric EQ which is reported to have an "analog sound", and a three band vacuum tube simulator common to the MX-60 mic processor.  There's also a three band stereo width control which allows such tricks as widening the top and while keeping the bass well centered, running it into mono if desired.  I/O is both analog and digital, handling up to 24-bit resolution and offering dithered digital output at lower word lengths.  Although really intended as a back end rather than front end processor, there's a mic input also.

Styling is, well, styled.  I found it to be a bit cluttered for what's a fairly simple interface due to the group of four buttons surrounded by a curved bezel that kind of crowds out the meter section.  One is a Help button, which is helpful.  With a four-direction cursor and a push-to-enter knob, it's fairly easy to navigate, but the information presented on the LCD isn't obvious without consulting the manual. http://www.transaudiogroup.com/

Joemeek has a new compressor for the folks near the bottom of the food chain.  The C2 is a half rack sized unit which can be operated as a stereo or single mono compressor.  Like some of it's brethren, there's just a single "compression" knob (which goes to 11) rather than a threshold and ratio.  You want more compression, you just drive it harder.  There are separate attack and release controls and an output level control.  It's hard not to compare it to the FMR Audio RNC, being about the same size and about $150 more, but offering balanced +4 dBu operating level I/O in the bargain.  The RNC is noted for its transparency under most circumstances, where the C2 is characteristically "Joemeek".  Two very different compressor actions for two different applications.  I know what you're all wondering - does it have an internal power supply?  Dammit, I didn't notice (it was in a rack) and the poop sheet doesn't say.

This compressor (as well as some of the other current Joemeek line) has an interesting approach to compressing a stereo signal. Conventional compressors, when linked to stereo, use either the sum of the two channels or the loudest of the two to derive the control voltage which sets the (same) amount of gain reduction of both channels.  Using the M/S concept, the Joemeek front end combines the left and right inputs to derive a L+R and L-R signal.  Those two signals are compressed using a control voltage derived from the L+R signal and then they're matrixed back to left and right.  Designer Ted Fletcher says this keeps the stereo image more stable than the traditional system.  An interesting concept. http://www.joemeek.com/joemeekc2.html

For the guitar oriented studio that's about exhausted your Boss SE-50 multiple effects processor, Boss has the perfect replacement, the VF-1.  Another "technology transfer" product, the VF-1 gets its processing power from the COSM modeling used in the signal processors in the VS series recording workstations and the VG-8 guitar processor. There are 200 presets and room for you to store 200 more.  There's an icon-based search function that's a bit reminiscent of the similar sized effects processors from Sony several years go.  Inputs are analog, line level switchable -10/+4 on the rear with an instrument jack on the front, with coax S/PDIF digital output. http://www.rolandus.com/PRODUCTS/PRESS/VF-1.HTM

Recorders

The Alesis MasterLink ML-9000 was the show's most interesting evolutionary product.  On the surface, it's a two track mixdown recorder, but it integrates several functions which make it a handy tool for the studio that isn't computer-based.  In addition to being a recorder, it's a playlist editor with gain control and trimming/joining functions, a peak limiter, equalizer, and normalizer, in essence, a collection of pre-mastering functions in a single unit. Intermediate working storage is on an internal hard drive, and the edited and processed playlist can be written to the built-in CD recorder.

The MasterLink handles digital inputs at 44.1, 48, 88.2 and 96 kHz at 16, 20, or 24-bit resolution, and can play back through its digital outputs at any of those combinations.  24/96 A/D converters provide high resolution (or even "standard DAT" 44.1/16 if you choose) input from analog sources, which allows easy integration with both analog and digital consoles.

Sample and word length conversion on the output side allows the creation of standard Red Book CDs at the push of a button, but for delivery to a mastering house, CD-R's can be written at resolutions up to 24-bit and 96 kHz sampling rate. In this mode, the MasterLink creates ISO-9660 disks (a standard for disk writing format) of AIFF files which can be read by nearly all mastering workstations.  In itself, this isn't a new standard - it's the same as working on a 24-bit computer workstation and just burning a CD-R copy of the audio files for backup or transport to another facility.  There's nothing proprietary about this disk format.  It's just cool that the process is handled by a dedicated box without the need to configure a computer system or keep up with software updates.

But there's a twist.  There's space for header information in the AIFF format,  and Alesis uses this space to write track information which can be read by the MasterLink on playback.  This means that, when using the MasterLink to play an AIFF disk in what Alesis has named the CD24 format, it can be used just like a standard CD player with indexed tracks and sequential play.  Alesis created one industry standard with the ADAT format, so perhaps they'll do it again with a disk format and player for higher resolution CDs.

The unit was on display on a pedestal with the meters moving, but none of the editing functions were ready for demonstration at the show (at least not to me) so you can probably still get some mileage out of a standard CD recorder before it becomes instantly obsolete.  Shipping i s expected in the third quarter of this year which, to me, means don't expect it before September, maybe later.  Keep it in mind if you see your work moving up in resolution by next year. http://207.158.208.27/products/ml9600/

Korg introduced a new tabletop integrated recording workstation, the D16.  It's a compact 16-track recording and mixing system with effects processing and, like their D8, incorporating a drum machine for quick start song writing.  It has all the expected features, 8 balanced inputs and 8-track simultaneous recording, 3 band EQ on each channel, two XLR connectors (though no phantom power), and a dedicated guitar input.  Converters are 24-bit, and there's a 24-bit optical S/PDIF I/O for interfacing to other digital equipment.  Effects include the usual stuff plus microphone and speaker cabinet modeling.  The display is fairly large for a unit like this and has a touch screen for faster navigation.  There's an internal 2 GB hard drive and a SCSI port for external disk drives or backup devices.

Fostex introduced a compact 8-track digital recorder, the VR-800, in a tabletop format, and designed to be a companion to their new VM-200 digital mixer.  It's straightforward, strictly digital I/O in the ADAT optical format, and, bucking the trend, 16-bit, 44.1 kHz.  Fostex has always recorded uncompressed data format, either to an internal IDE drive or external SCSI.  Like pervious hard disk recorders from Fostex, this one is available with or without a built-in disk drive so you can save some money and install it yourself, upgrade, or just use an external SCSI system.  There are 16 virtual tracks which can be used for alternate takes or copying and editing.  Copy and paste with a scrub knob and waveform view undo is offered.

Mixers

Since this isn't really a pro audio show, there're not many consoles shown, but there were a couple of new developments. Soundcraft had one of their new Series Four consoles, a medium-sized (24 to 48 input) front-of-house console or theater VCA automated job - quite straightforward, very Soundcraft.

Fostex's companion to the VR-800 recorder is the new VM-200 small format digital mixer.  The industry seems to be catching on to the fact that you can save too much money by eliminating controls, and people start having difficulty operating the equipment.  The VR-800 has a more user friendly interface than many of the other consoles in its class, with buttons to bring up often used functions without having to resort to a menu.  The 8 faders plus master can be switched in banks to control the 8 analog inputs, 8 digital inputs (ADAT lightpipe) or 4 effect sends.  A group of twelve rotary knobs becomes whatever you want them to be.  Normally eight are pans, but when called for duty they also become part of the EQ parameter controls, dials to set locate points for a MMC-controlled recorder, etc.  The LCD screen shows a graphic display of the selected EQ curve with all the parameters read out in text.

Most of the pushbuttons have indicator lights built in so you can see f airly easily what set of controls is currently active. There's a 100 scene mix memory, or the mix can be controlled dynamically through MIDI.  There are also three preset scenes, one for the start of the song with everything down, and I can't remember the other two.   The E 0  EQ presets give some good starting points for beginners.  I didn't listen through them, but comparing a few of the settings with my concept of how I'd start to EQ the named sound, they seem perfectly reasonable.  Two effects processors can be assigned to auxiliary sends, though there are no dedicated dynamics processors.

The first four input channels have XLR connectors for mic level with phantom power, and there are insert jacks on those channels.  The remaining four inputs are 1/4" line level jacks.  Digital I/O is via ADAT lightpipe for channels 9-16, and there's a S/PDIF coax I/O for an auxiliary stereo digital input and output.  Typical of mixers in this c ategory, the metering is kind of skimpy.  There are no dedicated meters, only a meter display on the LCD.  I miss pointers and red scales (the Soundcraft Four still has them, bless their heart), or at least green and red LED's.  http://www.fostex.com/

I had to look real hard to recognize that Mackie had introduced a new mixer at this show.  The 1642-VLZ Pro is the 1604 for people who said "What am I gonna do with all those mic inputs?  I have only a few mics b ut a lot of synths!". The 1642 has the same bus structure as the 1604 as well as the same channel features - 4 auxiliary sends and stereo returns, 3 band EQ with sweepable mids, 4 subgroups plus the main L/R bus, only the input layout is different.  Where the 1604 has 16 identical channels with line and mic inputs and insert points for all, the 1642 has 8 mic/line channels identical to the 1604's including the inserts,  two channels that can be used as either mono mic or stereo line inputs, and two stereo line channels.  To the keyboard wealthy but finger challenged, that's most commonly 8 mics or mono line inputs, and four stereo pairs of line inputs.  Everything else is like the 1604 except that it doesn't have the "Rotopod" connector arrangement - the connectors stay on the top rather than offering the option of swinging them out of the way on the rear. And comparing its $995 price with a 1604 gives you an idea of what those nice XDR mic preamps are worth. http://www.mackie.com/

Spirit continues to dole out accessories to increase the versatility of their 328 digital console, this time announcing the availability of an outboard TDIF-to-AES/EBU interface.  There's a curious "consumer/professional" switch on the front panel which I suspect has something to do with the status bits, making the data stream look like IEC-958 type 1 or 2 format for interfacing to things that care, though the rep who I asked seemed to think it had something to do with sample rate conversion.  While not on display, bare bones analog-to-TDIF interface with RCA jacks and balanced mic/line-to-TDIF interfaces were announced.  The mic/line box is a 2-space rack mount unit while the others are stand-alone half-rack sized.  The mic/line interface offers phantom power, a 100 Hz low cut filter, trim control, and a cute 4-LED meter on each input.  There's also an unbalanced TRS insert send/return jack for each channel with a bypass switch. http://www.spiritbysoundcraft.com/

As something to look forward to, Metric Halo, the folks who make the amazing SpectraFoo digital metering system for the Macintosh have taken over the interesting but stumbling  Project-X digital console and expect to have a fully operating version by the upcoming AES show.

Computer Stuff

A couple of years ago, Korg introduced the Oasys synthesizer, but it became far too expensive to produce so it was shelved for a while. Now the name and synthesis features are back as a PCI computer card. The $2,300 card has extensive synthesis capability as well as digital audio recording with heavy duty on-board DSP.  Audio I/O is similar to the Korg 1212 with a total of 12 inputs and outputs - stereo analog, stereo S/PDIF, and ADAT lightpipe.  ADAT time code and word clock are provided for integration into larger systems.  On the synth side, there are modeled analog synths, FM synths, physically modeled brass and woodwinds, and analog style arpeggiators.  The synths aren't built on to the card, they're all software and work like plug-ins so upgrades and new models are always possible.  Most of the effects from the Trinity workstation are included - reverbs, chorus/flange, and amp simulators and vocoder like effects.  The effects can be used to process audio as well as synth parts.  This isn't "the best sound card", it's really a potent sound designer's tool. http://www.korg.com/ (but no Oasys news here yet)

Pity the poor Aardvark.  For the second time, technology passed them by while getting a product to market, so they had to retrench.  First it was a TDIF interface card, originally introduced and before it got on the shelf, was replaced by one with more features at half the cost. Last January they introduced the Direct I/O, a four in/out PCI audio interface, and then 24/96 came along before production started, so it never saw the stockroom.  The unit has been redesigned and at this show emerged as the Direct Pro 24/96 with four mic or line inputs, four outputs, 24-bit converters, and sampling rates up to 96 kHz.  DSP on board not only handles mixing and metering chores, but also effects for real time processing and no extra load on the host CPU.  The control panel has been completely redesigned, offering a four channel mixer with three band EQ, compressor, and reverb on a very attractive and intuitive screen display.

There's a host card that's installed in the computer and an outboard box with the analog inputs and outputs.  Inputs are XLR/TRS combo jacks on the front while outputs are 1/4" TRS jacks on the rear. There's also a pair of RCA jacks on the rear for auxiliary outputs and S/PDIF RCA jacks on the host card.  AES/ABU I/O is available as an option, as is a rack-mount adapter for the connector box.   A really cool feature, and something that everyone's needed whether they know it or not is a way to route a mic input directly to a monitor output.

An "etch-a-sketch" router lets you do just that, eliminating the small throughput delay from the mic to headphones which causes comb filtering in the singer's phones.  The price is the same as announced for the original version, $699. Incidentally, a version of the new control console will be available soon for the Aark 20/20. http://www.aardvark-pro.com/direct_pro_lit.html

Midiman's new Delta series of  PCI interfaces was on display, showing the usual high bang/buck ratio from this company. For the user who wants just a plain vanilla digital I/O interface and doesn't care about analog, there's the DiO 2448.  It has both coax and optical S/PDIF digital inputs and outputs plus a bonus stereo analog output for monitoring or an extra output pair.  It passes 24 bits and runs up to 48 kHz sample rate.  A steal at $149.

The Delta DiO 2496 provides the same feature set as the 2448 only, as you might have guessed, operating at sample rates up to 96 kHz.  Those extra 48 kHz will cost you another $150, though.  The Delta 66 provides 4 analog balanced line level inputs and outputs plus an S/PDIF pair on an outboard breakout box.  24/96 of course, for $500. The flagship of the Delta line is the Delta 1010, with eight balanced analog inputs and outputs, plus an S/PDIF pair, word clock in and out, 24 bits and running up to 96 kHz sample rate.  A lot of I/O for $1,000.

In other computer interface news, the Yamaha DSP Factory is now being bundled with a copy of Minnetonka Software's MxTrax program.  While several of the multitrack recording programs are offering support for this card, none are as complete as MxTrax, which is really designed like a mixing console and provides support for every feature of the DSP Factory in a clear and logical manner.  While the DSP Factory has always added value to any recording program with which it's used, MxTrax really makes it into what it was designed to be - a full featured 24-channel mixing console.  The inclusion of MxTrax hasn't changed the cost of the card, so if you need it, it's an even better value now. http://www.giles.com/yamaha1/whatsnew1.html

Conspicuous by their absence was Event.  I was curious to see where the "gals" line was going since the Darla 24/96 was introduced a couple of months ago, offering more than the next model up in the line, Gina, and only lacking digital I/O.  I'm expecting a 24/96 Layla, but I guess it wasn't ready to show yet.  I'm sure it'll be out in time for AES.

Converters and Converters

Apogee announced a new SDIF-II AMBus card for their AD-8000 8-channel converter which provides an Apogee shot in the arm for the Sony 3324 and 3348  recorders.  And for those contemplating buying a 3348HR, A pogee points out that it's available without converters (which are only 20 bit anyway) at a substantial price reduction.  Mating one with a rack of  AD 8000's equipped with SDIF cards provides full 24-bit resolution.   The card also supports bit splitting, so a 3324 can record 12 tracks of 24-bit resolution or 18 tracks at 20 bits.  Also new is the HiWay AMBus card to interface directly with an SSL console.

The Apogee PSX-100 and Rosetta converters presently use the "double wide" system of interfacing, where  96 kHz data is transmitted on two XLR connectors each running at 48 kHz.  This system is used on the Genex, SADiE and Nagra-D recorders, but is incompatible with other equipment such as t. c. electronic and Weiss which uses a single connector running at 96 kHz.  Apogee now has a firmware upgrade which allows a choice of "double wide" or "double speed" 88.2/96 kHz interfacing.  An EEPROM upgrade is available to all registered users at no cost, though Apogee recommends installation by a dealer or authorized repair shop.

The AD-8000 has great analog stages as well as converters, but there's always someone who wants better, so Apogee now offers a hot-rodded Special Edition with improved and precision matched analog components. The Special Edition can be ordered for a mere $2,000 additional, or existing units can be upgraded at the factory.  This isn't for everyone, but it's worth considering if you're doing mastering for surround. http://www.apogeedigital.com/

At the other end of the scale, The Midiman Super DAC 2496 is, as you probably guessed, a 24/96 D/A converter with optical and coax S/PDIF and AES/EBU inputs and balanced XLR and unbalanced 1/4" outputs at the low price of $300. Just the thing for monitoring the outputs of your 24-bit workstation.

A converter of another sort, the Midiman CO3 is a digital format converter, with AES/EBU, optical, and coax S/PDIF inputs and outputs. Stick a signal into one of the inputs, and take it out from any or all of the outputs.  It passes data up to 24 bits wide, and sample rates up to 100 kHz.  In addition, a front panel switch manages the channel status bits of the consumer S/PDIF data stream allowing the output to be set for any level of SCMS copy protection.  This means you can create an "SCMS-free" copy of a protected DAT tape - handy for getting some extra mileage out of that consumer DAT that you bought when money was tight.  It's a good toolbox for $250. http://www.midiman.net/index.html

Speakers

There are so many club PA speakers at a show like this that I couldn't keep track of what was new and different, so I didn't try.   But Genelec did introduce a couple of new studio monitor speakers.  The 1036A is a three way system designed for large control rooms.  Nearly 3 by 4 feet and powered by nearly 3,000 watts (short term) it's not exactly a top-of-console system.  The 1034BC is a dedicated tri-amped center channel speaker designed for surround monitoring.  It's kind of w ide and squatty so it can be tucked over or under a screen in a theater setting.  There's a midrange and tweeter in the center flanked by two low frequency drivers. http://www.genelec.com/mainctrl.htm

True to form, Behringer introduced the Truth B2031 powered top-of-console monitor that looks suspiciously like the Mackie HR824, right down to the molded flare around the tweeter and the ribs around the back.  For room-tweaking, there's both a low frequency rolloff and low frequency shelf, plus high frequency shelving boost and cut.  Like the Mackie, there's an automatic power switch which turns off the amplifiers when there's been no audio for a while. http://www.behringer.de/eng/products/studiomonitors/B2031.htm

Yamaha also has some new powered monitors, like the Behringer, also in the sub-$900 range.

Software

New in the PC multitrack arena is Vegas Pro by Sonic Foundry.  Vegas isn't the multitrack Sound Forge we've been waiting for, but rather a multitrack cut-and-paste editor designed for building multimedia projects.  It supports drag-and-drop assembly both within a track and between tracks, automatic crossfades between adjacent pieces, a detailed edit list, and a quick link-up to an external WAV editor p rogram for editing of any selected track or region that requires more detailed work than trimming ends.  Mixing functions are fairly simple - level and pan on each channel, and each channel is equipped with three band EQ and compression.  Like its second cousin Acid, it will play just about any audio file format that you throw at it, even mixing format, word length, and sample rate on a single track.  This means you can combine music in MP3 format, original 24/96 recordings, and drop in sound effects from your CD library without converting anything.  Video support is provided for AVI, MOV, and MPG formats coming in, and it also exports RM as well as streaming audio formats for Real Audio G2 and Windows Media Technologies 4.0. http://www.sonicfoundry.com/

Spark from TC Works is a new two track editing/mastering program for the Macintosh.  It features all the expected tools such as editing, play list management, time stretching, and TC's Native CL mastering compressor and limiter.  It's bundled with a collection of TC's VST plug-ins for EQ, reverb, delay, gate, and some guitar processing effects.  Additional third party VST plug-ins can be added, of course. A neat on-screen router lets you connect effects and processors in either serial or parallel paths, and arrange them in any order you wish.  To top it off, Adaptec's Toast Pro is included for direct writing of standard Red Book CDs, and a MIDI and SCSI sample loader lets you export sounds directly samplers. Among others, Akai S1000/3000, Yamaha A3000, Kurzweil K2000/2500, Emu ESI/E4, and Roland S760 are supported.  http://www.tcworks.de/

I normally pass on DJ tools and equipment, but it was hard to ignore the well thought out  VisioSonic Digital 1200SL program for Windows 9X.  This is a system that's designed to replace a pair of turntables, mixer, box of records, and lots of DJ "sound tools".  It requires some investment in time to pre-load songs on to the hard drive, but once loaded and entered into a data base, you have access to them through a "file cabinet", while a song is playing you can search the file for songs to play later on and tag them for quick access.  You can select songs by key or tempo, both automatically determined when you load them on to disk.  Cueing up the next song, you can automatically match the tempo to the one that's currently playing if you wish, you can preset loop points in the song files and loop around them on the fly, play samples on demand.  Build up a play list and take a break or set up for automatic play in, say, a restaurant.  Download new material from the Net, get it indexed through an on-line song data base, and keep your record library current, lots of cool stuff.  There are three levels of features available ranging from a home version at $29 to a fully blown professional DJ version at $600.  This one looks like it could be fun for kicks, and a new way for a pro DJ to work. http://www.visiosonic.com/

Metric Halo has put aside development of a PC version of their wonderful Mac-based SpectraFoo metering and analysis program to develop some plug-in products for the ProTools TDM system.  Latest is the Channel Strip, which, as you might guess, is a channel strip providing gain trim, polarity inversion, expander/gate and compressor, both with side-chain filtering.  There's a six band parametric EQ with both peaking and shelving characteristics.  The compressor can be switched pre- or post-EQ, and there's metering for each processor.  It currently supports ProTools Mix and Mix farm cards.  One MIX DSP chip will handle six mono channels of audio (pairs can be linked for stereo).  All parameters can be automated and controlled by the ProControl console.  http://www.channelstrip.com/

RePlay Technologies has a couple of nifty programs for separating a mixed track into its parts.  KaraokeMaker is a Windows program that removes or reduces the vocal from a recorded song.  It works with WAV or MP3 files, and has a built-in utility to transfer audio directly from a CD into the computer.  It uses the classic technique of inverting one channel to cancel what's in the center.  This isn't perfect, and of course won't work with a mono source, but it's as good as it gets without getting too fancy.  It also allows you to change pitch while leaving the tempo (with the usual grunge and chipmunk caveats) and you can add, edit, and display lyrics.  DeComposer will isolate or remove an instrumental part from a mix.  It doesn't work quite as well as the $2,000 Pandora program, but it's a lot cheaper and the demo I heard was quite impr