The Audio Engineering Society held it’s annual convention in New York City the weekend of October 9. The event has a number of components from work group meetings that discuss proposals for various audio standards, to technical papers and workshops, as well as the mother of all professional audio trade shows. This year’s show was noticeably smaller, as the economy forced many to cut back from their usual presence. Nowhere was this more evident than the eerie absence of Digidesign. While Pro Tools 8 captured this year’s TEC award for DAW Technology, the company spent the year downsizing, losing many key engineering and management positions. Prior to the show, Digi announced Eleven, a new product for guitarists, leaving many in the pro audio community wondering if the company was shifting its attention to the potentially more lucrative mass market. While Pro Tools remains a kind of industrial standard, one wonders what might happen if an industry standard goes out of business…
While the industry as a whole is having a hard time, there’s a common thread that runs through all the players who are weathering the storm and made it to AES, they all have a real love for high quality audio, and regardless of shifting trends and economic conditions, they’re in it for the long haul. Nowhere was this more evident then at API, who manufacture high end analog mixing consoles and modules. This year theuy celebrated they’re 40th year in business with a party and concert featuring guitarist Sonny Landreth with guest Bob Weir of Grateful Dead fame. Their slogan, "celebrating 40 years of ups and downs" says it all. With the rise of DAW systems and "mixing in the box" many thought the end was near for many of these manufacturers. API was quick to realize that the analog technologies they developed for high end consoles could be repurposed for the digital age. Their "lunchbox" series of preamps, EQs and compressors provides a flexible and cost effective way to assemble a high quality, analog signal path for a variety of recording and mixing scenarios.
Sonny Landreth and Bob Weir of Grateful Dead
Although AES is primarily a pro audio show, a number of musical instrument manufacturers make an appearance. Korg has a stake in both camps with their revolutionary MR series of digital recorders, a decidedly pro audio product on one hand, and their line of keyboards a dominant player in the instrument arena. This year they rolled out the SV-1, a new modeled stage keyboard that’s designed from the ground up to be a players instrument. To emphasize this, they’re promoting it with video presentations from respected players such as Neil Evans from the group Soul Live. Korg also rolled out a new version of the fabled Korg Wavedrum. The original was an innovative product that was really ahead of it’s time, and while it was a kind of secret weapon for innovative percussionists, it never really took off in the mass market. The drum itself is not a pad, but uses a drum head to provide the feel of an acoustic instrument. The drumhead serves to provide input to a physical modeling engine capable of sounds that range from organic to electronic. Korg updated the design and dropped the price, and with a renewed interest in electronic performance, this will be an important addition to just about any performer’s arsenal.
Moldover in Brooklyn
One of the real highlights of the weekend was a trip to Brooklyn’s Williamsburg district for a late Saturday night performance by Moldover, who I featured in one of my early blog posts. He’s now a resident of San Francisco, but he was on an East Coast tour supporting a new CD release Circuit Board Instrument. While Ableton Live was the engine for the show, his laptop was off to the side, out of the spot light. As a key proponent of "controllerism," Moldover believes that electronic music performance should be an entertaining visual experience for the audience, and this show was a tour de force of that aesthetic. After years hacking and customizing existing controllers, he’s now using a custom-built unit. It faces the audience and his nimble manipulation of the controls provides a clear visual connection to the sound that’s being produced. Combine this with good writing, guitar playing, and clever use of effects processing, and you get a thoroughly engaging performance.