AES Partner News Blog

The new Yamaha Rivage PM7 digital audio system is making its AES Convention debut during AES New York 2018 at Booth 624. Positioned directly below the current Rivage PM10 Digital Mixing System, the CSD-R7 is the same size as the Rivage PM10 system CS-R10 control surface but with the DSP engine built into the console, offering enhanced portability and system flexibility while maintaining high operability. Two new high-capacity Yamaha cards will extend the interface capability of the Rivage PM Series: HY144-D-SRC Dante Audio offers up to 144 channels of integrated Sample Rate Conversion to a variety of Dante devices and applications allowing for non-synchronous connectivity. Five modes of operation can be utilized: 144 inputs with SRC, 144 outputs with SRC, 72 I/O with SRC, 144 I/O with synchronous SRC or 144 I/O with no SRC. The HY128-MD offers up to 128 channels of MADI with Sample Rate conversion using either coaxial or optical interfacing for connection to recording systems or MADI-based infrastructure.

The HY144-D-SRC and HY128-MD will be available this fall.

For more information visit http://www.yamahaca.com/.

Stephen Brownsill, audio product manager of TSL Products will share the presentation, “Considering the Implications of ST-2110 on Audio over IP” at AES NY. The session will take place on Wednesday, October 17 from 4pm to 4:45pm at the Live Production Stage (LS05), which is located on the show floor next to the exhibits.

With the background of SMPTE’s ratification of its ST-2100 IP media distribution standard, Brownsill will discuss the differences between proprietary and industry standards, and the consideration of a Commercial Off-The-Shelf (COTS) infrastructure. He will provide a recap on the advantages of IP infrastructures and breakdown what is already known about Audio over IP (AoIP), whilst citing real-life applications to anchor this topic in context.

Brownsill joined the TSL Products team in March 2017, bringing over a decade of experience working in the broadcast industry. His combination of audio expertise and understanding of the broadcast market makes him an authoritative figure as AoIP continues to gain pace and momentum. His experience with IP solutions and audio systems enables him to advise customers as they transition to IP workflows. 

More information on the session can be found at www.aes.org/events/.

For more information on TSL Products visit http://www.tslproducts.com/.

At the AES New York 2018 Convention in New York, exhibitors and attendees can enjoy the “The Connect Café” lounge, sponsored by the Recording Academy Producers and Engineers Wing.

The Connect Cafe, a three-sided space situated in the center rear of the exhibit hall, is adjacent to the AES Mix with the Masters Workshop and between the PSE Recording Stage and the Live Production Stage. It is the ideal location to have a beverage, meet with friends and colleagues, network with new contacts and get one-on-one time with the pros and technology leaders from the convention’s many sessions and workshops. The Connect Cafe will be selling coffee and snacks all day, with a selection of alcohol available in the afternoon until 6 p.m. Information and promotional films will also be screened in the lounge throughout the three days of the convention exhibits.

Luke Audio has added the Gold Standard Series to their current line of microphones and unique capsules. The new Gold Standard AL-Y56-G large diaphragm, tube condenser, “bottle” microphone provides a more affordable alternative compared to Luke’s hand-built Platinum Series. The AL-Y56-G microphone package comes with three distinctly voiced, interchangeable capsules (A1AU, A2AU, A3AU). Each capsule is a unique reproduction with 3 micron mylar diaphragms, gold sputtered and hand tuned.

Luke Audio founder Allen Luke commented, “Compared to the platinum capsules, the gold sputtered capsules have a slightly slower transient response resulting in a smoother more ‘natural’ sound - but still in the same realm of sonic goodness as each capsules Platinum counterpart.”  Audio examples are available for evaluation on www.lukeaudiollc.com.
  
All the capsules for both the Premium Platinum and the Gold Standard Series (exchangeable with the Y56 body) will be available individually.   
 
Gold Standard Series Capsule descriptions from Luke Audio:
AL-A1AU- Reproduction of the ck12 type capsule with 3 micron mylar diaphragms - gold sputtered and hand tuned.  Smooth and natural, bright, airy, open

AL-A2AU- Reproduction of the k67 type capsule with 3 micron mylar diaphragms - gold sputtered and hand tuned.  Smooth and natural, punchy, mid focused.
 
AL-A3AU - Reproduction of the k47 type capsule with 3 micron mylar diaphragms - gold sputtered and hand tuned.  Smooth and natural, full bodied, rounded, warm
 
Premium Platinum Series Capsules
AL-A1PT- Reproduction of the ck12 type capsule with 3 micron mylar diaphragms - gold sputtered and hand tuned.  Smooth and natural, bright, airy, open

AL-A2PT - Reproduction of the k67 type capsule with 3 micron mylar diaphragms - gold sputtered and hand tuned.  Smooth and natural, punchy, mid focused.
 
AL-A3PT - Reproduction of the k47 type capsule with 3 micron mylar diaphragms - gold sputtered and hand tuned.  Smooth and natural, full bodied, rounded, warm.

For more information on Luke Audio visit www.lukeaudiollc.com

RTW, a manufacturer of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control, will showcase its new 19-inch 4U rack-mount (MA4U) version of its TM9 TouchMonitor at AES New York 2018. The reconfigured unit brings all the audio monitoring features of the standalone RTW TM9 in a new design that is said to be easily accessible to users in studio settings.   

The TM9 panel-mount version is 235 x 135 x 45 mm (appx 9.25 x 5.35 x 1.8 inches) without the power supply and is suggested for mounting into front panels. The unit comes standard with a USB extension for the front panel and the mounting kit is compatible with DIN 41494/IEC 60297 19-inch 4U racks (483 x 177 x 91 mm).  

“With the continued evolution of studio spaces and workflows, we have seen an increased interest in rack-mountable formats of our state-of-the-art loudness solutions,” says Andreas Tweitmann, CEO, RTW. “Not only is the MA4U an aesthetically pleasing alternative for high-end studios, but it is also a great solution for live field productions.”

Equipped with RTW’s “high-grade” nine-inch touch screens and an “easy-to-use” GUI, the TM9 TouchMonitor is the latest in the company’s rack-mount solutions, which includes the TM3, TM7 and RTW legacy products. “Packed with precision, performance, efficiency and flexibility” for audio monitoring, the TM9 has a graphical user interface with elements that can be scaled, randomly positioned and combined to individual user needs for optimized use of available screen space. Multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a context-sensitive, on-screen help feature supports the user, allowing for setup changes. 

The latest firmware version of the TM9, which is also used with the TM7, expands the basic software to a four-channel display; 4x Mono or 2x Stereo/2x Mono. Additionally, 1x Stereo can be measured without the need of an activated multichannel license. Output routing can be individually adjusted for each preset and all presets can be exported or imported at the same time. 

For more information on RTW visit www.rtw.com.

Coinciding with its 40^thanniversary year, Genelec announces the founding of the Genelec Dr. Ilpo Martikainen Audio Visionary Scholarship, offered annually to U.S. graduate students in the field of audio engineering who are members of the Audio Engineering Society. The scholarship, in the amount of $5000, is being offered in association with the Audio Engineering Society Educational Foundation to students who have a passion of advancing audio through innovation and technology development.

Dr. Martikainen received his Master of Science Technology in Applied Electronics, Digital Techniques, Acoustics from the Helsinki University of Technology, in 1977. He also received his Dr.Tech h.c. from the Helsinki University of Technology in 2008 for his outstanding achievements and contributions to loudspeaker technology development and the industry.From 1971-78 he acted as Managing Director (MD) of KLT Elektroniikka Oy. In 1978, Ilpo founded Genelec Oy and he was the MD of the company from 1978 to 2005, during which Genelec became a leader in monitoring loudspeaker technology worldwide, both in terms of technology and business. From 2006 to 2017, he was the Chairman of the Board of Genelec. Since its founding, Genelec has earned global acclaim as a pioneer in active monitoring technology and continues to concentrate its efforts and resources on creating active monitors with unparalleled sonic integrity.

Dr. Martikainen was involved for many years in the Audio Engineering Society, including being presented with the AES Fellowship Award for significant contributions in the field of loudspeaker development in 1993, and in 2015 delivering the Richard C. Heyser Memorial Lecture at the 138th AES International Convention in Warsaw, Poland. Ilpo chose a topic near and dear to his heart, with the presentation titled “Monitoring Loudspeakers: Can They Be Truthful Quality Control Tools?”, examining the past, present and future role of the professional monitoring system. He created several articles related to loudspeaker design, some of them published in the early 1980’s appearing in AES publications. He was also the inventor of several granted and pending patents, and was involved in numerous speaker designs, while also continuing to work on new transducer technologies.

Applications for the inaugural scholarship are currently being accepted. To apply and for more information visit http://www.aes.org/education/foundation/. The deadline for applications for the first Genelec Dr. Ilpo Martikainen Audio Visionary Scholarship is May 15, 2019, with the award recipient being announced on August 1, 2019, for the 2019 school year.

To learn more, please visit http://www.aes.org/education/foundation/.

For more about Genelec visit http://www.genelec.com.

Eventide has announced availability of the SP2016 Reverb plug-in which recreates a classic collection of reverb algorithms from its history-making SP2016, pro audio’s first rack-mount multi-effects processor.

Revered for its signature reverbs by mix and recording engineers like Mick Guzauski, Roy Hendrickson, George Massenburg, Dave Pensado, and Allen Sides, and others, the SP2016 can be heard on countless hit records, from Madonna to Mariah Carey and Adele to Emimen. 

“The classic Eventide SP2016 has always been my go-to reverb,” says mix engineer Dave Pensado. “It has the unique ability to make vocals, instruments, and drums sit perfectly in a mix. The new SP2016 plug-in now gives us all access to this incredible reverb, and no one is happier about this than me!” 
The SP2016 Reverb Plug-In features three distinct reverb types, each available in two versions: Vintage and Modern. The Modern algorithms are brighter, more diffused, and use higher bit resolution. 

The first reverb type is Room – a basic “no-nonsense, no-frills ambient ‘room’”. The extreme Pre-Delay range makes it possible to use this effect for reverberant doubling and single echoes.The Stereo Room reverb type recreates the ambience of a large concert hall, with “very clear, natural reverberation”.

The third SP2016 Plug-In reverb type is the Hi-Density Plate, a  reverb with virtual dual pickups simulating the effect of a big, heavy plate and said to allow engineers to make vocals, guitars and percussive instruments appear much bigger and brighter than they actually are.

Users can control the structure of the reverb by fine-tuning the controls (available across all reverb types) including PREDELAY, DECAY, POSITION, and DIFFUSION. The SP2016 Reverb Plug-In’s POSITION control allows the positioning of a listener’s perspective from the back of the room all the way to the stage while retaining all other settings. An EQ section allows for simple high and low filtering of the reverb with adjustable filter ranges. The low filter can be used to cut or boost at the specified frequency. 

For more in-depth information, including a free and fully-functional 30-day trial, please visit the dedicated SP2016 Reverb webpage here: https://www.eventideaudio.com/products/plugins-reverb/reverb/sp2016-reverb

For more about Eventide visit www.eventideaudio.com.