Oct 29, 2010 1:37 PM

As the AES convention in San Francisco approaches, we thought we’d give Mix readers a sneak peak of some of the new products launching at the show. AES newcomer Undertone Audio stems from a console project started four years by noted engineer/producer Eric Valentine and electronics designer Larry Jasper (who previously worked for Quad-Eight and GML).

The two set out on a journey to build a no-compromise console from the ground up because they realized the inherent problems of maintaining a vintage console (due to proprietary components and the constant replacement of parts) and their overall dissatisfaction with the direction of modern console designs that emphasized features over sonic performance. The first two consoles have been in use at Barefoot Recording, Valentine’s private studio facility in Hollywood.

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At AES, Valentine and Jasper will introduce a 24-channel model (although configurable for up to 108 inputs) under the Undertone Audio brand. All models are essentially custom, so the feature list is subject to change, including 24 buses, six aux sends, three-way speaker selection, four external monitoring inputs, full talkback and studio monitor control, two switchable line inputs per channel, electronically balanced inputs (transformers optional on all outputs), EQ and insert switching automation, individual level and pan control on bus send for surround mixing, VU metering on channel/bus/aux sends, audiophile headphone amp and more.

AT THE CORE: THE EQ DESIGN
The Undertone 4-band EQ is a fully parametric design (with individual bypasses on each band) and is designed to provide versatility and vintage musicality.

Rather than a switch that selects between peak and shelf curves, the EQ uses a Shape control—essentially, a balance pot between the two that allows creating customized tone-shaping contours. And Q (bandwidth) control is active at all settings—even when in a Shelfing mode for even more flexibility. And both highpass and lowpass filters have Q control. Taking the EQ one step further, the gain is controlled by a toggle switch with boost, cut and notch modes, with a full 300 degrees of rotation on the gain pot for increased resolution rather than the typical center detent/clockwise/counterclockwise motion of most EQ gain controls. Additionally, when the gain control in the Notch mode exceeds the halfway point on the pot, the frequency is added back into the signal path, but 180 degrees out of phase, for even more effective cancellation of the offending frequency or simply variable phase adjustments.

UNDER THE HOOD
With an emphasis on musicality, the design uses all-discrete, single-ended, Class-A circuitry in the signal path and dual 28-volt supplies for improved headroom performance without the need for step-up transformers. So 1:1 output transformers can be offered as an available optional on all outputs and +4dBu internal levels for optimal dynamic range.

Close-up detail of the Acoustically Transparent Work Surface metalwork used in the Undertone Audio console

ABOVE THE SURFACE
Perhaps one of the most interesting aspects of the Undertone console is its use of Acoustically Transparent Work Surface™ (ATWS), a unique, patent-pending porous metal used for the main console worksurface that is said to produce virtually no acoustical reflections and eliminate comb-filtering effects that result from the near-field reference monitors mounted on the meter bridge.

The Undertone console makes its AES debut in San Francisco at booth #1341. The company’s future plans include a rackmount channel strip/preamp with its console EQ design and a sidecar summing amplifier.

Find out more about the Undertone Audio Consoles.

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