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Paris in Springtime


The Paris Expo in Porte de Versailles was a perfect setting for an AES show. Attendance was quoted at 5,000 — excellent for a European gathering. Here are a few products that caught our eye.

The DFC PS/1 PowerStation from AMS-Neve ( is a single-operator, lower-cost version of the DFC Gemini console for predub/prelay and print mastering. Stagetec‘s ( Nexus and Aurus consoles offer a new high-density I/O frame that accommodates sub-modules for analog, AES/MADI-format digital and fiber-optic connections. Lawo‘s ( much-anticipated mc290 digital console has a new GUI and user interface. It’s aimed at no-fail applications, such as remotes, live performance and on-air.

Apple‘s ( Logic Pro DAW is now fully Euphonix ( EuCon — compliant, directly controllable under this flexible command protocol from surfaces such as the MC Media Controller. A EuCon Hybrid Option can control multiple DAWs from System 5.

Neumann ( expanded its Solution-D digital mic line with small-diaphragm models based on its popular 180 Series. The new modular mics have interchangeable omni, cardioid and supercardioid capsules.

Universal Audio‘s ( collaboration with AMS-Neve offers UAD-1 DSP emulations of classic Neve hardware, such as the 1073 and 1073SE EQs. Coming soon are plug-ins of the Neve 33609 bus compressor and 1081 parametric. The Model 10500 digital monitor from RTW ( provides a high-res audio vectorscope, peak-reading meters and status monitoring on a built-in LCD. Julyah Communications ( expanded its Centauri II system (now with connectivity of audio codecs to a standard VoIP topology) and the MERK II portable audio gateway codec.

Best of show? Nahimic, A-Volute‘s ( 3-D sound recording/playback system, uses a real-time spatializing engine, generating a 3-D space map, and then places individual sources anywhere within that environment. A six-transducer headphone re-creates the soundfield.

During their joint keynote address, composer/vocalist Emile Simon and her engineer/technologist (and IRCAM instructor) Cyrille Brissot demonstrated BRAAH, a vocal effects controller worn on the singer’s arm, and CADRE, a laser controller responding to the location of objects placed within its beams. The potential of computer-controlled instruments is virtually limitless, Brissot argued: “Any object can be a computer interface.”