Spotlighting Yamaha, JBL 7 Series Monitors, Audio-Technica, RTW and Fairlight.
By Mel Lambert
Continuing our homage to the NAB Show’s core theme of “Crave More,” here is another batch of new developments seen and heard in Las Vegas earlier this week.
Yamaha put on a practical demonstration of the Nuage control surface for use with a variety of digital audio workstations, including Steinberg Nuendo, Cubase and Avid Pro Tools via the HUI control protocol.
Michelle Garuik from LA-based Grind Music & Sound, which specializes in mixing and sound design for sports TV and documentary film, showed various scenes from recent productions and explained how Nuage streamlined the preparation of surround sound media for such clients as Fox Sports, NBCUniversal, PBS, Red Bull and HBO.
New Nuendo V1.7 software, available in July, will provide enhanced support for Nuendo 7, as well as Pro Tools plug-in control and shortcut assignments, with the addition of VCA fader automation and support for game audio middleware.
A new Nuage PT Bridge driver lets fader multi-function knobs be used with Pro Tools plug-ins. Nuendo 7 also adds a handy re-conforming function that provides automatic re-editing of files to match picture changes, plus advanced project collaboration.
Harman demonstrated surround applications for the new JBL Professional 7 Series two-way reference monitors, which is comprised of models 705i and 708i with, respectively, five- and eight-inch LF drivers. “We designed the monitors for multi-channel monitoring in post rooms, edit suites and mobile trucks,” offered Peter Chaikin, the firm’s director of recording and broadcast marketing. Using patented technologies developed for the M2 Master Reference Monitor, the new series offers “detailed imaging, extended frequency response and remarkable output from compact enclosures,” Chaikin added.
The 7 Series monitors are powered from an eight-channel Crown CT8150 or DCi 8300N amplifier via a BSS Soundweb London signal processor that provides appropriate crossover filters and room tuning. A custom-designed BSS BLU-8 remote controller offers level adjustment, individual solo and channel fold down. Wi-Fi tablet control is also available. Pro user price for a 5.1-channel system targeted at sound editorial/design suites with a model 705i monitor and powered subwoofer is $12,500.
Audio-Technica unveiled the new System 10 Camera-Mount wireless mic targeted at independent video and commercial productions that need fast and easy setup. Operating in the 2.4GHz RF range, the compact system is available in hand-held, lavalier and body-pack configurations. “Up to eight channels can be used together without any frequency coordination problems or group selection issues,” stated Gary Boss, Audio-Technica’s pro products marketing director. “We added 24-bit/48kHz wireless operation for enhanced sound quality, with automatic frequency selection for seamless, interference-free operation and three levels of diversity assurance.”
A 3.5mm output jack can be switched between TRS balanced and unbalanced/dual-mono mode. A rechargeable internal battery with receiver and transmitter battery level displays are featured, together with removable antennae and a dedicated headphone jack with volume control. Also to be seen: the new BP40 large-diaphragm dynamic microphone for ADR and voiceover suites, with internal pop filtering, a hypercardioid polar pattern for off-axis rejection, and an optional shock mount.
RTW demonstrated a range of level and loudness monitoring tools, including the new Mastering Tools DAW plug-in that is said to bring “extensive analysis and display functions for mastering, metering and loudness measurement from single- to eight-channel applications,” reported Andreas Tweitmann, RTW’s managing director. Available for Windows and Mac OS platforms, the new plug-in offers a broad range of PPM scales, displays and true PPM measurements, in addition to several loudness standards, including ITU BS.1770-3/1771-1, ATSC A/85, EBU R128, ARIB, OP-59, AGICOM and CALM Act.
Other features include numerical or bar graph-type readouts, MagicLRA and correlator display, audio vectorscope, realtime analyzer, a handy surround analyzer and a multi-correlator.
Finally, Fairlight US showcased a number of tools for preparing immersive TV and film soundtracks, including its new 3D Audio Workspace, which offers object-orientated functions for Auro-3D, Dolby Atmos and DTS MDA formats without having to replace existing 2D tools and workflows. The EVO Console’s center-section can be fitted with any combination of joystick, automation controls, trackball or enhanced monitor controls, with the firm’s patented Picture Key technology providing access to all core control and built-in editing functions.
Operating in either Strip Mode, with some controls on each strip, or Channel Code, with all controls on one strip, all in-line panel sections feature a high-resolution color TFT display that provides additional strip information and global controls. “For streamlining the simultaneous creation of multi-language and multi-format content without the need for premixing, our new audio engine now delivers up to 1,000 audio tracks, 64-channel monitoring and multi-delivery mix buses,” said Tim Cuthbertson, VP of sales. Media Gateways allows audio and video editors to work on realtime collaborations without slowing rendering and file-transfer times.
I’ll return early next week with a report from an MPSE-sponsored panel at the NAB Show that showcased the sound design and re-recording of director Sam Taylor-Johnson’s Fifty Shades of Grey.
Mel Lambert is principal of Content Creators, an LA-based copywriting and editorial service, and can be reached email@example.com. Follow him on Twitter @MelLambertLA.