After some drizzles and a wet start the first day, the 121st Convention of the Audio Engineering Society (www.aes.org) took off to become one of the best shows in years. In addition to the 400-plus exhibitors jammed into San Francisco's Moscone Center, convention chair John Strawn and his committee put on a brilliant event, with a great lineup of sessions, papers and technical tours. Exhibitors were pleased with the excellent turnout, both in numbers and in the quality of the attendees — with lots of serious users and fewer tire-kickers. Clearly, pro audio is back on track.

Fairlight's (www.fairlightau.com) DREAM II may have changed all the rules of DAW/digital console design. The groundbreaking Crystal Core system used in DREAM II employs cutting-edge FPGA (Field-Programmable Gate Array) technology to redefine the price/performance ratio of digital production. A single CC-1 PCI card can handle 230 audio channels (each with eight bands of EQ and full dynamics control), 72 user-definable mix buses (mono to 7.1), 192-track recording, integrated HD video and up to 220 physical I/Os.

Digidesign (www.digidesign.com) previewed Pro Tools 7.3, a Universal Binary release featuring user-interface improvements such as savable window sets and upgraded looping functions. The new version also offers integration with Sibelius notation software, which was recently purchased by Digidesign.

Optimized for multi-core CPUs, Cakewalk's (www.cakewalk.com) SONAR 6 Producer Edition is a powerhouse, taking a giant step ahead of earlier versions, with a new Synth Rack, high-performance VC-64 Vintage Channel effects, AudioSnap timing correction, Active Controller Technology for seamless mapping of external devices and more.

Steinberg's (www.steinberg.net) Cubase 4 represents another significant upgrade. The focus here was on improving audio quality (32-bit floating-point audio engine) and making it easier to use with SoundFrame, which combines track presets, instrument tracks and the MediaBay database.

Synthax (www.synthax.com) was showing V. 9 of Magix Samplitude and Sequoia. New features include a video engine (Sequoia), hybrid audio engine, advanced dual-CPU support, track and score editors, and tons of effects improvements and additions.

Available with 48, 72 and 96 faders, SSL's (www.solid-state-logic.com) Duality large-format analog console offers full DAW integration, a split signal path, E and G equalizers, onboard dynamics, moving fader automation and 5.1 panning — all with the SuperAnalogue K Series sound.

AMS-Neve (www.ams-neve.com) celebrated its 45th anniversary by launching the PS/1 PowerStation, a single-user, slim-line, 384-path version of the DFC Gemini post console. The PS/1 integrates with Pro Tools, Nuendo or Pyramix environments as a combined digital console/DAW controller.

Wunder Audio's (www.wunderaudio.com) Wunderbar is a 12 to 60- (or more) channel modular console design based on its popular PEQ1 preamp/EQ modules, with comprehensive metering and a full master section. An ingenious new summing bus lets users choose a Neve, API or Wunder-flavored output.

Rupert Neve has returned to console manufacturing. Offered in expandable 16/32/48/64-channel versions, the Model 5088 from Rupert Neve Designs (www.rupertneve.com) is a fully discrete, 8-bus mixer with 135 dB of dynamic range.

The Tascam (www.tascam.com) DM-4800 64-channel digital console has 24 buses, 12 auxes and 24 studio-grade preamps (more can be added via expansion cards), and can be completely repatched at the flick of a switch.

Yamaha (www.yamahaproaudio.com) has a free upgrade shipping with its DM2000 consoles, now monikered the DM2000VCM. It includes a suite of five plug-ins that emulate legacy processors and more.

Universal Audio (www.uaudio.com) has partnered with Euphonix founders Scott and Rob Silfvast to design UA's Desktop Console System (DCS) family of DAW “expansion and enhancement” products. The first two products in the DCS Series are the Remote Preamp, featuring two trans-impedance — type mic preamps, a headphone amp with reverb and EQ (for monitoring only), plus MS decoder; and the Monitor Master, which provides input switching and other monitor functions. These units combine a base station with a remote that keeps controls within reach.

Frontier Design Group (www.frontierdesign.com) turned heads with its new AlphaTrack fader/DAW controller. This $249 USB bus-powered desktop control surface has transport keys, jog/shuttle, a motorized fader and touch-sensitive encoders. It's XP and OS-compatible for Pro Tools, SONAR, Cubase, Reason, Digital Performer, Nuendo and other apps.

New mics just keep coming. Designed for Podcasting, RØDE's (www.rodemic.com) Podcaster end-address dynamic has a USB output, tailored-for-voice response and built-in headphone amp for monitoring. Another new USB design, the $149.95 MXL.006 from MXL Microphones (www.mxlmics.com) is a cardioid mic large-diaphragm condenser capsule. SE Electronics (www.seelectronics.com) showed a clever dual-output condenser mic that works via an XLR or through a USB port that powers the mic and connects to your DAW. It also has a headphone out with a knob that lets users choose the direct vs. mix output to the cans for zero latency monitoring.

The David Royer — designed MA-200 large-diaphragm condenser mic from Mojave Audio (www.mojaveaudio.com) uses Jensen transformers and JAN 5840 tubes for an airy top end. And Mojave's MA-100 small-diaphragm tube mic is $995, including cardioid and omni heads. Based on the famed M49, Wunder's CM49 multipattern tube mic comes with the original AC701K tube and M7 capsule. The power supply on Chameleon Labs' (www.chameleonlabs.com) TS-2 can alter the capsule voltage, letting users tweak the mic's sonic characteristics. Chameleon also debuted the TS-1 small-capsule tube mic, which accepts AKG 451E capsules and pads.

API (www.apiaudio.com) showed the Swedish-made Ehrlurd tube mic, which has a unique triangular capsule.

Crowley and Tripp's (www.soundwaveresearch.com) $745 Naked Eye ribbon mic features a bright-side/dark-side design for choosing the color of your recording by simply rotating the mic. Inspired by the RCA BK5, the Telefunken (www.telefunkenusa.com) RM-5C cardioid ribbon mic has a 30 to 18k Hz bandwidth and a sweet spot that hugs the mic — perfect for up close work.

Telefunken's new CM 7151 mic is based on the historic R.F.T. bottle mic and comes with a NOS Telefunken EF12 tube and a new M7 interchangeable capsule, and accepts Neumann M7/M8/M9 heads and newer lollipop capsules from BLUE and JZ/Violet. Red Microphones' (www.redmicrophones.com) new Type A tube mic lets users attach a variety of Red capsules along with compatible capsules from BLUE. Korby Audio (www.korbyaudio.com) showed a dual-tube, bottle mic amplifier with a line-level output that works with its KAT Series interchangeable capsules.

A new grid for DPA's (www.dpamicrophones.com) 4003, 4006, 4051, 4052 and 4053 mics alters frequency response, making the mics more versatile than ever. Charter Oak Acoustic Devices (www.charteroakacousticdevices.com) has a program where mic owners can have their mics customized post-purchase, tailored for specific recording situations. It's “up periscope” with Earthworks' (www.earthworksaudio.com) new P30/C and P30HC periscope mics. The frequency response spans from 30 to 30k Hz, and a mini-gooseneck design lets them tuck into the tightest spots.

Surround miking was big. Holophone (www.holophone.com) showed its entire line of 5.1 mics. Schoeps' (www.reddingaudio.com) MDMS U passive matrix box for double M/S recording can create a direct LCRS or 5 surround output using only three mics. The SoundField DSF-2 (www.soundfield.com) features all the things that made the company popular with broadcast and post users, along with a digital output that enables long cable runs. Sanken's (www.plus24.net) WMS-5 surround M/S mic has five outputs (L, C, R, Ls, Rs), with the matrix circuitry contained within its 8.3-ounce mic body. Core Sound (www.core-sound.com) announced TetraMic, a less-than-$1,000 miniature surround mic.

Zaxcom (www.zaxcom.com) showed two handheld mics: The ZFR800 has onboard recording to removable Mini-SD memory; and the TRX800 combines the same Mini-SD recorder with a wireless transmitter for fail-safe backup in live or live-to-tape production. Both mic bodies accept screw-on heads from Shure or Neumann.

Listening to mics at a tradeshow is usually pointless, but to spotlight its KMD small-diaphragm digital mic system, Neumann (www.neumannusa.com) mounted two KMD cardioids in a glass case with a music box mechanism. Even over headphones, you could tell the KMDs handled the transients of the pinging tines with no problem and captured all the harmonics and decay. Nice!

There was some activity in digital outboard gear, but the main push at AES was analog, particularly from smaller boutique companies. D.W. Fearn (www.dwfearn.com) showed the VT-15, ($4,950) a mono, all-tube mic preamp/DI/compressor/LC equalizer in a single box. A hip switch can instantly reverse the order of the EQ and comp in the chain. Manley Labs' (www.manleylabs.com) $3,000 TNT puts two preamps — one tube and one discrete solid-state design inspired by vintage British consoles — in a single unit, offering user more flavors from which to choose when tracking.

Chandler (www.chandlerlimited.com) exhibited some Beatle love with its EMI Curve Bender stereo EQ and stereo EMI TG12413 Zener Limiter. Issued in celebration of the 75th birthday of Abbey Road Studios, the four-rackspace units will be $4,500 each.

John Oram (www.oram.co.uk) and David Manley Design-Paris announced a new Oram by DMD-Paris line of co-branded, high-end tube products. The line includes the MMPEQ1 mono preamp with 4-band EQ; SMP1 dual-channel pre with DI inputs; and the MVCMP1 mono vintage compressor with mic/line preamp.

Got plugs? In what is the biggest audio software bundle of all time, Waves' (www.waves.com) new Mercury Collection offers 91 processors and more than 200 component plug-ins. In addition to nearly the entire Waves catalog (the SSL Series is not included), Mercury includes Waves' new V Series emulation of vintage EQ and comp/limiters and adds MaxxVolume, a new dynamics processor.

The buzz over at McDSP (www.mcdsp.com) was the ML4000 limiter plug-in. Available in single and multiband configurations, the app features a multiple-stage brickwall limiter with continuous knee control. The multiband version has a 4-band gate, expander and compressor fed into the same limiter algorithm found in the single band.

TC Electronic's (www.tcelectronic.com) Unwrap mastering and up-converter algorithm will soon be available as a PowerCore VST or Pro Tools HD Accel plug-in. Originally developed for the company's flagship System 6000, the app provides fast stereo-to-5.1 up-conversion when there is no time to do a conventional 5.1 mix or when multitrack source material is non-existent.

The Fraunhofer Institute (www.fraunhofer.de) demo'ed its new MPEG surround technology. It's not quite a product as yet, but when it is, it will be impressive. Stay tuned.

Korg (www.korg.com/mr) showed two portable, pro high-res stereo recorders. The pocket MR-1 handles 1-bit/2.8MHz recording/playback; the tabletop MR-1000 delivers up to 1-bit/5.6MHz — double that of DSD standards. Both decks have balanced mic and line inputs and support DSDIFF, DSF and WSD 1-bit formats and multibit PCM format (BWF) up to 24-bit/192kHz. Included Mac/PC software can convert 1-bit recordings into WAV and AIFF formats at various bit rates and vice versa.

Tascam's (www.tascam.com) DV-RA1000HD stereo master recorder provides a pro solution for capturing high-res audio to DVD or hard disk at up to 192kHz/24-bit PCM formats or Direct Stream Digital audio. It has a 60GB hard drive, so projects can be recorded and then burned to CD or DVD.

Headzone from beyerdynamic (www.beyerdynamic.com) provides realistic 5.1 surround reproduction from stereo headphones. Also, an ultrasonic head-tracking system locates the orientation of the listener's head with respect to the source material and adjusts the audio accordingly.

Designed for the wide bandwidth of DSD and high-sampling PCM recordings, Sony's (www.sony.com/professional) MDR-7509HD headphones feature “Auronomic” circumaural drivers that eliminate pressure on the ear during extended use. They were comfortable, sounded great and sealed out the buzzing AES floor.

Alter Media was showing Studio Suite 8 (www.studiosuite.com), which runs on FileMaker 8/8.5 and shows off a leaner and meaner user interface, plus new features such as dashboard overviews, 12 levels of security and e-mailing directly from the app.

Glyph (www.glyphtech.com) was packing them in the booth with its new line of FireWire 800 products. The 800 units feature SATA drives, which are said to offer 10 to 15-percent track count improvement in a DAW environment.

At Vintage King's booth, we finally got a peek at Barefoot Sound's (www.barefootsound.com) MicroMain27 monitor, which “breaks down the barriers between near-field, mastering and main monitors” with its combination 1-inch soft-dome tweeter, dual 5-inch mid-bass drivers and dual 10-inch subs housed in a single enclosure.

Noted studio designer Chris Pelonis (www.pelonissound.com) demo'ed his amazing Pelonis Signature Series PSS110P studio monitors. The stereo or surround systems are based on custom 10-inch Tannoy coaxial drivers and have the most serious passive crossover design we've seen — or heard. A subwoofer is optional.

Hosa (www.hosatech.com) debuted its Session Series digital near-fields, with digital domain bi-amplification and USB and RS-232 inputs for remote PC control of volume and 6-band EQ. Retail is $899/pair.

Digital Audio Denmark (www.digitalaudio.dk) has upped the bar on sample rates with its AX24 DXD ADC/DAC box. The unit is scaleable with a mic pre option and several I/O options. Everything is sampled at 5.6 MHz/5-bit (!) and then downsampled to 44.1/48/88.2/96/176.4/192/384 kHz, DSD and DXD (24-bit/352.8kHz).

The DSP 5D from Yamaha essentially puts the functionality of its acclaimed PM5D-RH digital console — less the control surface — into a rack unit that's controllable from your PM5D. Priced under $30,000, a single DSP 5D doubles the mixer's I/O channels, with 96 mono and 16 stereo channels accessible via four fader layers — or add a second DSP 5D for 144 mono/24 stereo capability. The DSP 5D can reside next to the host PM5D or act as a remote stage box (with all I/O accessible on the front panel) using an optional digital cabling unit for communication up to 120 meters away over standard Cat-5 cable.

Digidesign's (www.digidesign.com) D-Show Profile is a size-conscious alternative to the D-Show flagship console of the VENUE line. Intended for small to medium installs, D-Show Profile is compatible with all existing VENUE hardware and software, including existing stage and front-of-house racks for connecting to Pro Tools HD and LE systems via a hardware option. Waves Live Bundle provides 27 popular plug-ins for Digidesign's D-Show/VENUE console, including the L2 Ultramaximizer, C4 MultiBand and MaxxBass — all optimized for D-Show/D-Show Profile consoles.

The GL3800M analog monitor desk from Allen & Heath (www.allen-heath.com) offers up to 16 monitor mixes, has built-in mic splitting and a comprehensive, dual-output engineer's wedge/IEM monitoring system. It's available in 24/32/40-channel frame sizes, and the 16 mixes can be globally assigned as mono or stereo.

Audio-Technica's (www.audio-technica.com) re-engineered Artist Series line of live mics adds new models and upgrades classics for a complete selection of vocal, instrument and drum mics. Priced at $299, the Audix (www.audixusa.com) VX-5 electret condenser handheld vocal mic has a supercardioid polar pattern and bass roll-off filter. Neumann expands its handheld line with the KMS 104, a cardioid condenser providing optimal vocal transmission with suppression of sounds originating behind the mic.

The 64×64 Anaconda digital snake from Aphex (www.aphex.com) can be used stand-alone or paired with the company's 1788A preamp. Features include eight ADAT I/Os (64-channel bi-directional), eight word clock outputs, word clock reference input, Ethernet connector for control and metering, and fully redundant power supply and fiber systems.

MediaNumerics (www.medianumerics.com) premiered its RockNet system. Achieving low latency was a priority in creating this real-time, audio/data-distribution network. Products include the RN.301.MI 8-channel mic preamp/analog line input/ADC and the RN.342.M7 16/48-channel digital I/O for the Yamaha M7CL board.

EAW's (www.eaw.com) UX8800 digital processor brings the company's Gunness Focusing to existing EAW loudspeaker systems. This DSP technology can correct the problems inherent in conventional compression-driver phase plugs, horns and LF drivers, allowing horn-loaded loudspeakers to deliver performance comparable to direct-radiating studio monitors, but at the higher output levels required in live sound.

Meyer Sound's (www.meyersound.com) Constellation^™ electroacoustic architecture is a complete package of equipment and services provided exclusively by Meyer and centered around the company's VRAS^™ technology. Constellation gives venues the flexibility to instantly alter their acoustics to accommodate a variety of events and source material. The first installation is at Zellerbach Auditorium on the UC Berkeley campus.

Next up is AES Vienna, May 5 to 8, 2007, followed by AES New York City from October 5 to 8, 2007. The jury is still out on a return to S.F. in 2008, but our (admittedly hometown-biased) vote goes to the City by the Bay.