Unseasonably hot weather for May and the welcoming ambience of the city of Amsterdam set an optimistic tone for the first of the year's major audio conventions. While there were plenty of new products, a theme of consolidation rather than innovation was to be found around the exhibition - something that was welcomed by most.
The only discernible trend was the continued escalation of digital audio specifications towards a bit rate of 24 and a sampling rate of 96kHz, and even pushed to 192kHz by some. While almost anyone manufacturing a digital product was keen to optimise one component of the digital specification, manufacturers of the more complex products were talking down the advantages of the full 24/96 package.
Sony was a prime example with its '24-bit World' based around the OXF-R3 digital mixing console connected to the PCM3348HR digital multitrack and the PCM-9000 MO-based 2-track recorder - all running 24-bit. The OXF-R3 has just received version 1.2 software that has added multi-format surround mixing which expands its potential further into post production applications.
AMS Neve had a raft of upgrades across the product range including multiformat monitoring and scoring options for the Capricorn digital console; version 2.0 software for the Logic DFC adding automation enhancements and the ability to link any mix controls across multiple channels; plus AudioFile changes - the introduction of AudioFile 98 - a 24-bit platform with networking capability including StarNet which adds multiple AudioFile networking to multiple hard drives; while Media Toolbox provides networkwide offline back-up and restore.
SSL's featured launch was their first digital music recording console. The Axiom-MT uses much of the technology developed for the other A Series console such as Axiom, Aysis and Avant but with a different approach to the control surface. Full 5.1 surround mixing is standard and it's fully dynamically automated.
Otari's stand was dominated by their new Advanta digital console that has software suitable for music, post and film use. The design will accommodate up to 256 channels and can be used with dedicated channel strips or in an assignable fashion.
Studer's D950S, the surround sound version of their D950 digital console was being demonstrated with particular emphasis on the VSP, Virtual Surround Panning. This allows the user to specify an acoustic environment, place a sound source inside that virtual area and then pan it in real time with DSP processing providing the correct multiple surround outputs. The use of cues other than level for positioning provides very strong positional images.
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| Tascam's sub £1000 TM-D1000 digital mixer |
Particularly interesting new digital consoles were to be found at the low cost end. Yamaha showed a development of their original 01 in the form of the 01V which is several levels more sophisticated. A version of the 03D with video edit control software has been added and designated the 03D VEK. However the mixer to create most surprise was the Tascam TM-D1000, a 16-channel digital console that may be limited in the range of I/Os, before additional cards are installed, but it will hit a price of under 1,000
Digital workstations all boasted upgrades but two are worthy of specific mentions. Studio Audio & Video launched a new system, the SADiE 24 96, capable of handling high specification digital audio. It can actually edit and mix up to 192kHz digital audio in full surround sound and may be configured up to 32 inputs and outputs. SAV say that the system is suitable for a range of editing uses included film and TV post, music editing, telecine transfer and speech editing.
Steinberg unveiled their Nuendo post production system, designed to run on a Silicon Graphics' platform. It draws on their Cubase VST technology and is able to handle up to 256 tracks of digital audio. The system supports Studio Central, the open framework for media material management, allowing full histories of different production versions to be checked. Projects can be held on a central server while several Nuendo stations can work in parallel on different aspects of the project.
Digital multitracks and dubbers were much in evidence. Alesis showed three new 20-bit ADAT II format recorders spread in pricing and facilities The top of the range M20 unit is the first Alesis ADAT unit to offer direct timecode, RS-422 and video reference connection.
Studer showed their ADAT II format recorder, the V-Eight in its production form with the Cockpit remote controller that can handle up to eight units as a single system.
Digital Audio Research entered this product area with SAM, the Scalable Audio Multitrack system, modular 8-track recorders that can be configured to use a wide range of media. Word length can be set at 16, 20 or 24-bits, with sampling rate variable up to 192kHz. Audio is recorded as .wav files and the units are OMFi format compliant. Units can be added up to 1024 tracks all acting as a single virtual machine for control and editing.
Most of the other manufacturers were showing upgraded units. Akai's DD8 is available in Version 2.0 offering 24-bit and 96kHz sampling, plus file compatibility with WaveFrame, StudioFrame and Tascam MMR-8 without the use of OMF interchange. Tascam's MMR dubber is now available in a 16 channel form.
The ADSG Dubber Jaz-based dubber that had been raising a lot of interest following its development by Sony Pictures in Hollywood, was 'acquired' by Sony for its main distribution channels. It now carries a Sony badge.
Otari introduced RADAR II, an upgraded version offering 24-bit operation and generally enhanced features. Fairlight's MFX3plus now supports 18, 20 and 24-bit operation, while the DaD 24-track dubber has gained the ability to be reconfigured as multiple smaller machines. Fairlight were featuring their MediaLink PC-based file server supporting multiple audio networks.
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Sonosax Stelladat II timecode DAT recorder |
With an ever increasing variety of media being used to store audio, several manufacturer have been trying to squeeze more out of the DAT format. Tascam launched the DA-45HR, a 24-bit DAT stereo recorder that handles the extra bandwidth by running at a higher speed although it can still handle standard DAT cassettes. A greater surprise was however Sonosax's Stelladat II, a total reworking of the earlier portable location recorder that had never fully entered production. This new machine will record 2 or 4-tracks on a DAT cassette and offers an option to operate at 96kHz sampling. Sonosax would appear to be aiming to go head-to-head with the Nagra-D recorder.
Still in the area of location sound recording, Marantz added a professional portable MiniDisc recorder and a pair of solid state recorders using PCMCIA flash memory cards. These machines undercut other professional recorders in cost but generally contain fewer features than other such machines which have generally being designed for radio applications. The solid state recorders are ideal for highly 'energetic' recording situations where tape based machines just don't perform adequately.
At the far end of the audio chain there was little new in the area of microphones. Neumann were showing production models of the TLM103 cardioid condenser that follows in the tradition of the U67 and U87 but with improved noise and sound level handling specifications. Danish Pro Audio added a new subminiature 4065 headband microphone to its range, specifically designed to handle the acoustic and physical problems that such close contact with humans inflicts on a microphone. The company also announced that it is now to be known as DPA and all the ranges of mics will now carry that name rather than that of B&K.
AKG introduced a very compact and lightweight microphone headset in the form of the HSC200 SR. The microphone capsule has been specifically optimised for high quality broadcast voice use and the position of the mic is close to the mouth making it usable in noisy surroundings.
Continuing the practical theme, Schoeps showed a range of active in-line high pass filters for reducing wind and handling noises. A range of frequencies are available and they can be used at any point in any cable carrying phantom power.
Turning to the opposite end of the audio chain, there were few new additions in the monitor speaker area with most manufacturers looking towards more specialist surround sound applications. Quested added a new active sub-woofer system, QSB118, as did Westlake and Dynaudioacoustics, the latter being the BX30, a smaller version of the ABES subwoofer that has found much application in the post production environment. This unit is designed to be used modularly with more or fewer units to suit the application.
Genelec introduced a dedicated centre channel active speaker system. The tri-amplified 1038CAC is designed to match the 1038As but can be horizontally mounted under video monitors when necessary.
During the show, a number of news stories emerged. The assets of the synchroniser manufacturer Adams Smith have been bought by its German distributor Peter Struven Audio Vertrieb, the day before the Convention opened. Struven will taken on service and support internationally as well as continuing manufacture of the Zeta 3 and AXSC super controller.
Meanwhile Fairlight and Akai announced an agreement for direct file exchange - software due to be released in mid August by both companies means that Fairlight MFX3plus and Fame workstations will import and play projects created by Akai DD products, while DD recorders will support the Fairlight format and can be used directly in the Fairlight DaD dubber, at both 16 and 24-bit.
So AES Amsterdam '98 was lacking in the blockbuster products but continuing refinement and the gradual move upwards in digital standards left a satisfactory feel to the event, knowing that your purchases of last year were more likely to be upgradable than simply obsolete!