NAMM 2017: Exhibitors and products hit the floor20 January 2017
Dynaudio has provided details of the latest addition to its LYD studio monitor range at the show.
The new LYD 48 features a 3-way speaker design, coupling an 8″ and a 4″ woofer with a 1″ tweeter, making them well suited for nearfield and midfield monitor applications. It will be available as white and black, as the original LYD range, but also in a classic all-black version.
Each of the woofers and the tweeter are powered by a Class D amplifier, delivering 80W/50W/50W of power per monitor. The amp features a 96kHz/24bit signal path and selectable input sensitivity, as well as the same Standby Mode as the original LYD speakers.
Like the other LYD monitors, the new 3-way version features Bass Extension, allowing for a choice between the default setting or pushing towards maximum bass or maximum volume. Changes will affect the low-end response, while the linear frequency response remains intact.
Meanwhile, G’Audio Lab officially launched G’Audio Works, a spatial audio plug-in for Digital Audio Workstation. During its beta period, Works proved to enable filmmakers and sound engineering professionals to provide life-like hearing experiences to the end user, by placing them in the soundscape and accurately reproducing the direction and position of sounds in a given environment.
“We’re passionate about empowering VR content creators across the film, animation and gaming industries to produce more immersive experiences, which require fully interactive 3D audio to support 3D video components,” says Henney Oh, CEO and founder of G’Audio Lab. “Works delivers unparalleled freedom for mixing multiple audio signals to create the most realistic sounds possible.”
Incorporating the company’s patented binaural rendering technology, which was selected as part of the Moving Picture Experts Group’s 3D Audio international standards (MPEG-H 3D Audio), G’Audio’s suite of tools apply head-related transfer functions (HRTFs) data to tailor sound per the average human’s head and ears to simulate actual hearing mechanisms.
Works can be added to Pro Tools as an AAX plug-in with features including supporting the simultaneous use of three audio signals to create realistic sound with environmental ambience, enabling users to edit as they watch in order to synchronise the reference video and audio in head-mounted display (HMD) view, Panoramic view or Map view and supports offline bouncing so users can export work 30 times faster than realtime bouncing.
Waves Audio unveiled the Waves Dugan Speech plugin, the new official software version of the Dugan automixer for automatic control of multiple mic gains, designed for integrated use inside the eMotion LV1 live mixing console. Powered by Dan Dugan’s patented voice-activated process, Dugan Speech controls the gains of multiple microphones automatically and in real time, dramatically reducing noise, feedback and comb filtering from adjacent microphones. Dugan Speech ensures that system gain remains consistent, even when several speakers are talking at the same time. It makes perfectly matched crossfades, without any signal compression whatsoever, and without a noise gate that would cause undesirable artefacts.
The company also announced it was shipping the Waves Abbey Road Vinyl Plugin – a precise model of Abbey Road Studios’ vinyl cutting and playback gear, designed to give your music the vintage warmth of vinyl records played on classic turntables and needles. Designed with Abbey Road Studios, this plugin faithfully captures every stage of the vinyl production and playback process: you can choose between the sound of a pure acetate (lacquer) cut or the print master vinyl pressing from the factory; play the records on two distinct turntable types with a choice of three classic cartridges; and even send your tracks through Abbey Road’s legendary TG12410 mastering console on the path into the vinyl lathe. Abbey Road Vinyl even lets you move the position of the tone arm across the record, changing the frequency response and distortion like in the real world. You can also add vinyl noise, pops and crackles, apply a gradual slow-down/stop turntable effect, and add wow and flutter effects for extra analog warmth.
The Waves Primary Source Expander (PSE) plugin has also been released. PSE lets users reduce stage bleed and sensitivity to feedback when a mic is idle by automatically lowering mic levels between musical phrases – perfect for live sound and for mixing live recordings. At the heart of the Primary Source Expander plugin is a precision expander, tailored especially for melodic sources such as vocals, guitars, strings, brass and woodwinds. PSE works like a fader that smoothly attenuates the channel’s level when the source goes below the threshold that’s been set. The user determines both the threshold and the amount of attenuation. Reducing stage noise leakage when microphones are idle will help users get an overall mix that is more coherent, more focused, and has better phase relations.
The company is also displaying its Waves Nx Virtual Mix Room, a plugin that puts you in the sweet spot – everywhere you go. Powered by the company’s groundbreaking Nx technology, Waves Nx lets you hear, on any pair of headphones, the same natural depth, natural reflections, and panoramic stereo image you would be hearing from speakers in an actual room. It turns headphones into a more reliable mixing and monitoring tool by letting you hear everything with real-world dimension.
API announced its new 3124V Microphone Preamp. Building on the enormous success of the highly revered 3124+, the 3124V is essentially the same unit, but provides two important additional features. First, the 3124V offers front panel Variable Output Level Control. “This is a feature long requested by the pro audio community, and we’re happy to provide it in the 3124V,” says API’s president Larry Droppa.
Second, the 3124V adds a switchable 3:1 output transformer selection, also on the front panel. “The 3:1 Output Transformer selection switch allows the user to alter how much gain comes from the different stages,” explains API’s Director of Engineering Todd Humora. “Do you want more transformer gain, or do you want more 2520 gain, or both? You can choose exactly what you prefer, and then use the Variable Output to make sure the level is where you want it.”
Top picture: Photo credit: Jesse Grant/Getty Images for NAMM