The theme for this year's Audio Engineering Society convention (held October 5 to 8, 2007) was “Where Audio Comes Alive,” but perhaps it should have been “All Together Now.” Finally, after years of talk, things are starting to click in terms of production tools. Walking though the crowd of 20,674 attendees, 445 exhibitors and 150 conference events, New York's Javits Convention Center was packed.

AMS Neve (www.ams-neve.com) debuted its Genesys, a hand-built, expandable analog 8-bus mixer with DAW control. Pricing starts around $50k, and includes 16 channels of mic/line preamps; 16-channel DAW monitoring; 16-channel analog summing at mixdown; DAW control for Pro Tools, Logic and Nuendo; and more. It can be expanded to 60 channels; options include recall, motorized faders and 192kHz I/O.

API's (www.apiaudio.com) new 1608 console builds on the classic API 1604. Sharing the form factor of the 1604, the standard 1608 has 16 548B inputs, eight effects returns, 12 550A 3-band EQs, four 560 10-band graphic EQs, 5.1 monitoring and space for eight additional 500 Series modules. A 16-channel expander is optional.

Great River Electronics (www.greatriverelectronics.com) showed the MP-500NV, a version of its NV Series mic preamp/DI, fitting into two 500 Series rack slots. LaChapell Audio's (www.lachapellaudio.com) Model 583S preamp combines THAT Corp. and Burr-Brown I/O stages and a 12AX7 tube. Purple Audio (www.purpleaudio.com) debuted four 500 Series modules: a FET compressor, 4-band LC equalizer, headphone amp and mic preamp DI. For Tonelux-format rack/consoles, Little Labs (www.littlelabs.com) offers its IBP Phase-Alignment Tool in modular form, while SPL (www.spl-usa.com) unveiled its Transient Designer as a single-channel module. And Tonelux (www.tonelux.com) launched two new modules: the MP1a mic preamp/DI and the TRX compressor.

A-Designs (www.adesignsaudio.com) brought in the HM2EQ Hammer, a sweet-sounding, all-tube, dual-mono EQ. The elysia (www.elysia.com) mpressor compressor can produce fat and freaky sounds by employing a punchy control behavior, colorations full of character and extreme settings. TL Audio's (www.tlaudio.co.uk) Fat Track Tube Production Suite ($2,195) is a desktop unit with mic/line/DI inputs, 3-band EQ, balanced inserts, FX send/return and headphone outs. On the digital side, Focusrite (www.focusrite.com) put four channels of Liquid Channel mic preamps into its Liquid 4PRE. It can be controlled remotely via an Ethernet connection to Pro Tools, and several units can be networked for larger projects.

Ironically, the most talked-about DAW product wasn't a workstation at all, but the new Pro-Convert application from SSL (www.solid-state-logic.com), which converts session files across many platforms including the latest versions of Pro Tools, Soundscape, Cubase/Nuendo, Vegas, Sonic Studio, SADiE, Final Cut Pro, Audition, OMF, AES31, Sequoia, Open TL and Tascam BU.

The coolest DAW at AES was Fairlight's (www.fairlightau.com) Xynergi media production center, offering a suite of media processing tools for high-end audio-for-video surround production. Xynergi provides a new concept in tactile control via self-labeling key switches that can display full-color image/icon/text for intelligent control over the entire recording/editing/mixing process.

Steinberg (www.steinberg.net) unveiled Nuendo 4, with an upgraded set of 38 surround and sidechaining-capable VST3 audio effects plug-ins, numerous workflow improvements and a new file-management system to archive/retrieve/search media files across any connected drive.

Cakewalk (www.cakewalk.com) SONAR 7 software for the PC is packed with new features, such as enhanced MIDI editing, advanced multiband linear-phase mastering effects and an external hardware effects insert with automatic plug-in delay compensation. Other extras include the Z3TA+ waveshaping synth, Dimension LE, Rapture LE, DropZone, Roland V-Vocal^™ Version 1.5 and tools for publishing music online.

Apple (www.apple.com/logicstudio) updates its Logic software as a bundle of tools. Logic Pro 8 now has a redesigned interface that speeds production. Also in the bundle are Soundtrack Pro 2, Studio Instruments, Studio Effects (with some 80 plug-ins) and Studio Sound Library, with 18,000 Apple Loops and 1,300 sampled instruments. Another plus is MainStage, a new live performance rig for guitar/keys/bass.

Ableton's (www.ableton.com) Live 7 includes improved audio and MIDI engines to minimize jitter, along with a new effect integrating three compression models and a sidechain control for it and the gate and auto-filter effects. The EQ Eight plug-in has a 64-bit mode for greater accuracy, and a new spectrum analyzer provides visual feedback.

RX audio restoration software from iZotope (www.izotope.com) removes hiss and buzz, eliminates clicks and crackles, and repairs overload distortion in audio. Spectral-repair algorithms even analyze and fill gaps to restore previously unusable recordings.

Your next plug-in may be hardware: Lexicon's (www.lexiconpro.com) PCM96 can operate as a “traditional” reverb/effects processor using analog or digital I/O, or can integrate with a DAW via Ethernet or FireWire.

Most of the digital console action at AES involved software updates for existing models, but there were new entries. Digidesign's (www.digidesign.com) mid-format C|24 controller for Pro Tools HD/LE provides an advanced control surface, 16 mic/line/DI preamps, 5.1 monitoring and built-in talkback. Its 24 bankable control strips have motorized 100mm faders. Retail: $9,995.

The S5 Fusion worksurface from Euphonix (www.euphonix.com) can control Pro Tools HD and/or EuCon Hybrid with Nuendo, Apple's Final Cut Pro and Logic Pro, Merging's Pyramix and MOTU's Digital Performer. The basic concept is accessing one or more systems simultaneously to handle any audio job; for example, Pro Tools tracks on S5 faders can exist alongside other tracks coming from Nuendo or Logic Pro.

Nobody at AES could have missed “The Shed.” Now available through SSL, this 240-square-foot Summerwood Cheyenne shed is a copy of Peter Gabriel's songwriting sanctum, complete with SSL AWS 900+ console, SSL XLogic processing/converters and additional equipment provided by Guitar Center, along with Auralex acoustic treatment, Argosy studio furniture and Henick-Lane air conditioning. Price is under $250k, depending on finish, specification and location. (Take our exclusive video tour at www.mixonline.com.)

Blue's (www.bluemic.com) Snowflake USB mic clips to the screen of any laptop or desktop PC or folds into a desk stand. Retail is $79. Heil Sound's (www.heilsound.com) The Fin, puts a cardioid dynamic element into an Art Deco-style housing, with four LEDs inside the mic that glow when connected to phantom power.

The R-F-T M216 matrix stereo mic from Telefunken-USA (www.telefunkenusa.com) is a dual-capsule condenser design with four outputs that let users capture audio in Blumlein, quad X/Y and Z, or stereo patterns. The $13,950 DSF-1 music surround mic system from SoundField (www.soundfieldusa.com) incorporates the company's unique technology that can output high-resolution recordings in delivery formats ranging from traditional stereo to esoteric multichannel formats — without leaving the digital domain.

For the mic's 40th anniversary, Neumann (www.neumannusa.com) offers the U 87 Anniversary Set special edition in a classic style case, with elastic suspension and pop screen that's reminiscent of the 1960s. Sennheiser (www.sennheiserusa.com) bowed a line of condenser mics based on its flagship MKH 800, but for less than half the price. Available in cardioid, omni and supercardioid ($1,299 each), the new mics feature a mic head and XLR module (with optional cable assembly for separating the two).

Earthworks (www.earthworksaudio.com) demo'ed the $4,495 stereo PianoMic system, which features small omni, gooseneck-mounted mics suspended on a bar that can be positioned across the inside of a piano for lid up/down-miking. SE Electronics' (www.sonicus.net) GM10 acoustic guitar mic is a cardioid condenser on a mini boom that attaches to the guitar. The musician has complete freedom of movement while the mic stays aimed at the desired sweet spot. DPA's (www.dpamicrophones.com) 4080 miniature cardioid lavalier is pre-equalized with a 4dB presence boost to improve speech intelligibility/definition. Retail is $549.

Using slightly thicker ribbon material, Royer Labs (www.royerlabs.com) created road-rugged versions of three ribbon mics for live sound/touring applications. The new “L” models are priced the same as the studio versions, and deliveries begin Q1, 2008. A ribbon mic tough enough for close-in kick drum miking, “el Diablo-Mercenary Edition” uses Crowley and Tripp's (www.soundwaveresearch.com) ultratough Roswellite^™ ribbon material and is said to have the aggression of a 421 with the size of the 47 FET.

We saw at least three new products designed to fix acoustic problems with sound systems: Real Sound Lab's CONEQ^™ and IK Multimedia's (www.ikmultimedia.com) ARC/Advanced Room Correction run real-time software to correct room response for more accurate reproduction, while Equator Audio Research (www.equatoraudio.com) is now shipping its Q Series of digitally controlled reference monitors, which incorporate DSP for correcting room modes.

Genelec (www.genelec.com) brought its DSP-based monitors to a wider audience with the new SE (Small Environment) DSP Monitoring System, combining a 10-inch DSP subwoofer with 8130A digital input active monitors. At the other end of the spectrum, we were amazed by Allen Sides' (www.oceanwayaudio.com) large $34k/pair model HR-2A three-way monitors, which — even on the show floor — sounded impressive. ADAM Audio (www.adam-audio.com) unveiled its double-15, four-way S7A MkII monitors.

Taking a passive approach to improved listening, Primacoustic's (www.primacoustic.com) Recoil Stabilizers are console-top speaker pads that promise to make your monitors more accurate. The weighted units reduce speaker movement during playback.

Interest in analog recording remains high. And to keep those machines well-fed, ATR Magnetics' (www.atrtape.com) line of pro high-output tape — from ½ to 2-inch — is now in full production, with ¼-inch due in early 2008.

The $599 handheld PCM-D50 field recorder from Sony Pro Audio (www.sony.com/proaudio) features 96kHz/24-bit recording with two adjustable mics (X/Y or wide-stereo) and PC/Mac file transfer via USB. HHB (www.sennheiserusa.com) expanded its line of cardioid and omni FlashMic built-into-the-mic-body recording mics with two new models that also include a line input for recording feeds at press conferences, etc.

The Fostex (www.fostexusa.com) PD606 and PD204 retain the features of its PD6 location recorder, while adding full-size DVD-RAM disc recording, 8-track recording through the digital I/O, dual-drive recording, HD drive access via USB 2, tri-level sync and more.

There was a lot more than we could possibly cover here. For more AES insights, including video product demos, blogs, podcasts, hundreds of new products and more, visit www.mixonline.com/ms/aes2007. Meanwhile, AES returns to San Francisco next year from October 2 to 5, 2008. See you there!