A Panalopy of Audio Gear at AES

Trends include increasing integration of analog and digital

By Frank Moldstad

Legendary designers: Rupert Neve (right) checks out new analog mixer by Malcolm Toft (center).

Although DAWs have taken over for most kinds of audio production, getting signals into and out of digital recording platforms remains an analog process with everything from mixing boards to microphones (even computer sound cards perform analog-to-digital conversions).

And as new products debuting at the 121st AES Convention in San Francisco last week showed, analog technology is flourishing in a digital world. New analog channel strips, summing boxes, mic preamplifiers, compressors, and equalizers were everywhere, and there was even a large format analog mixing console introduced by Solid State Logic, as well as a smaller format analog board called the ATB from former Trident designer Malcolm Toft, an 8-buss mixer available in 16/24/32 channel configurations.

Analog product designers are emphasizing their role with phrases such as ?Love analogue, work digital? -- SSL?s tagline for its new Duality console, which offers a split channel path for processing in the input or monitor path of a workstation. Tonelux, maker of the VRack console, says its products are for ?mixing outside the box,? with a selection of modular analog hardware. However it?s described, tighter integration of analog and digital products has a high priority among product developers of all stripes.

What this means for users is better workflow and more choices. They can opt for internal signal processing with plugins or outboard processing with hardware, and combine the two more seamlessly than ever. There are plugins that emulate analog processes, and plugins that offer completely new digital processes. Similarly, there are outboard analog devices with digital control or connectivity, delivering the best of both worlds. For example, DakingPlus, a new company formed by designers Geoffrey Daking and Dave Thibodeau, debuted two new modules at AES, the EQ500 and the Stereo Compressor, the first two products in a line of digitally controlled units based on classic analog hardware.

New devices to connect and control devices in digital recording setups are also a hot ticket. SSL also introduced the XLogic Delta Link MADI HD box for connecting MADI enabled audio equipment to Digidesign ProTools|HD systems with up to 256 channels of audio from one hardware interface. Universal Audio debuted its DCS Remote Pre and Cue Mixer, the first in a line of products aimed at project studios (developed with original Euphonix founders Scott and Rob Silfast). API introduced the A2D, packing two 312 discrete mic preamps with A/D converters into a 1U rack space unit, the first digital offering in API's line.

Fairlight's new CC-1

There were also some interesting new recording systems, such as a PCI recording interface called the CC-1 debuted by Fairlight Audio, which dovetails with a Fairlight work surface to form a complete system with hundreds of I/Os and powerful DSP capabilities. The Soundscape workstation line also has a new direction since its parent company Sydec was acquired by SSL three months ago, marked by the AES introduction of an SSL Console EQ and Filters plugin for Soundscape DSP. Plus, Apogee Digital showed its Ensemble interface for Logic Pro 7 (and other Core Audio apps), which has just begun shipping, and announced V-Bus, a zero latency virtual bus technology for its new Symphony PCI card.

Also at AES, API kicked off the VPR Alliance to standardize manufacturing for API?s Lunchbox ?500 series? module rack, which can incorporate up to six devices (mic pres, EQ, compressors, etc.) in a small portable frame. Hardware manufacturers offering compatible modules now include Speck, Daking, Buzz Audio, ShinyBox, A Designs, Purple Audio, Avedis, Shadow Hills and Old School.

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