Solid State Logic is to expand is AWS series of consoles with the launch of the AWS 916 mixer and DAW controller.

The AWS 916 has been designed to extend the reach of the AWS range, including private and commercial studios and educators.

The console offers the same functionality as the AWS 924, with a reduced channels count –16 channels instead of 24. The AWS is, however, expandable to full AWS 924 specification with the addition of an eight-channel upgrade package available separately.

‘At £35,000 (US$52,500 US), the 16-fader variant of the AWS is ideally placed to accommodate both the operational and financial requirements of the music professional,’ says SSL Group Commercial Director, Piers Plaskitt. ‘Additionally, not everyone has the processing requirements of our larger format consoles and will find that 16 channels of SSL SuperAnalogue are more than enough for their needs. When you add in the elegant DAW integration, it is hard to find anything else in the marketplace that comes close.’

Using the 24-fader footprint, the AWS 916 offers 16 SSL SuperAnalogue mic preamplifiers, SSL dual-curve EQ on every channel, two assignable SSL Dynamics processors, Stereo Bus Compressor, TotalRecall and 5.1 monitoring. In addition to onboard SSL automation, the AWS 916 also features the A-Fada system, with motorised analogue faders that follow DAW automation data.

Dedicated heavy-duty DAW transport, V-Pot multifunction encoders with position indicating LEDs and digital scribble strips are part of the package, along with a DAW fader mode, global and channel routing controls and built-in TFT display for plug-in control. Project session management is kept simple through SSL’s proprietary Logictivity interface.

The AWS 916 aso features Ethernet connectivity for hardware control of a DAW environment.

More: www.solidstatelogic.com

Aphex has released the Project Channel – a 1U-high dedicated channel strip loaded with Aphex’s audio processing technology ‘ at an extremely cost-effective price point’.

A streamlined version of Aphex’s Channel processor, Aphex Project Channel has all the essential processing – an Aphex class-A microphone preamp, Aphex’s optical compressor, Aphex’s signature Aural Exciter processor and Big Bottom low-frequency processor; analogue and digital (SPDIF) inputs and outputs; and LED metering.

The rear panel includes connections for XLR mic input; XLR analogue output; quarter-inch analogue output; and SPDIF RCA output.

More: www.aphex.com

Accompanying its recently released AmpX reference power amplifier, Swedish manufacturer Lindell Audio has released the DACX high-end digital-to-analogue converter.

Among its features, a dual output stage allows the selection of tube or op-amp outputstages. Lindell suggest using the clean op-amp stage in a recording/mixing monitor chain, and the tube output stage for a mastering D/A chain. The DACX laso provides dual AES/EBU, co-ax SP/DIF, optical SP/DIF and USB audio inputs. The up-sampling function allows the output sample rate to be set as required.

UK distribution is handled by Nova Distribution.

See also:
Lindell Audio AmpX

Based on theHV-3 preamplifier circuit, Millennia Media’s HV-37 chassis houses a pair of 500 series HV-35 preamp cards housed in a 1U-high 19-inch rack unit.

Packed in a rugged 16 gage steel, single rack-space package with an onboard universal power supply, the HV-3 has a frequency response of 3Hz to beyond 300kHz (±3dB), >85dB common mode rejection ratio (typical), <0.0005% THD+Noise (typical at <5ppm) and <0.0009% intermodulation distortion. The panel front has an instrument input jack, DC-coupled ribbon mic switch with 10dB gain boost, 80Hz filter, phantom power, pad, polarity reverse and a continuously variable gain control.

The rear panel has XLR mic ins and XLR balanced line outs along with a standard IEC power connector.

The HV-37 will be available by the end of November 2012.

More: www.mil-media.com

The first noise gate module designed specifically for the 500 Series rack system, the Drawmer DS101 will make its debut at the 2013 Namm show.

The DS101 is based on a single channel of the DS201 and incorporates the fully variable high- and low-pass filters and ‘key listen’ monitoring functionality (pioneered by Drawmer) that allows frequency-conscious gating. The DS101 incorporates comprehensive envelope controls – threshold, attack, hold, decay and range – plus other features including Drawmer’s ‘traffic light’ metering. The module’s low-noise circuitry also incorporates Drawmer’s proprietary hysteresis or ‘trigger stabilisation,’ which prevents ‘chatter’ around the threshold level.

When installed next to each other in a 500 Series rack, two or more DS101 gates may be linked using Drawmer’s new infrared triggering mechanism. Linked in this fashion, the envelope shaping capabilities of any number of DS101 gates (up to a maximum of ten units in a single enclosure) may be independently adjusted while the trigger pulse passes through unchanged. This enables a range of envelope follower effects to be achieved. The DS101 additionally allows external triggering via a front panel quarter-inch key input connector.

The DS 101 can be used for both gating and ducking (for voiceover applications or the elimination of unwanted transient artifacts). It will be distributed in the US by the TransAudio Group.

More: www.drawmer.com
More: www.transaudiogroup.com

Aphex has introduced the IN2 Desktop Computer Interface, aiming it at project studio/home recordists and broadcast production applications.

A single unit interface the IN2 offers two analogue inputs and outputs, two SPDIF digital inputs and outputs, two class-A microphone preamps, as well as volume, mono/stereo dim controls, and Aphex’s optical compression and HeadPod 4 technology. The IN2 applies its compression in the analogue domain before going through the AD conversion process and USB-to-DAW transfer.

‘With the continued increase in desktop-based recording, we felt it was important to apply Aphex’s engineering efforts and acclaimed technologies to a new line of USB recording tools,’ says Aphex CEO, David Wiener. ‘The IN2 Interface will surely find a home as a key part of recording set-ups far and wide, and we can’t wait to hear what users cook up with it.’

More: www.aphex.com

Lawo’s Edit is radio production software for handling editorial content in radio broadcasting, including reporting, interviews andthe creation and continuous updating of recurring pieces.

With user guidance and variety of working modes, Edit reconciles an intuitive user interface with commmon radio sector operating philosophies, and is readily adapted to users’ personal preferences.

Among Edit features is Reporter Box voiceover production, and ability to use of multiple data formats simultaneously. Audio signal processing is handled by native integrated sound processors from the mc² mixing console series. Also included is a loudness function (in accordance with EBU R128 and ATSC A/85) that can be used for real-time metering and the analysis of archive material (clips or entire takes).

Edit can be used with the full range of commonly encountered audio hardware, as well as being fully compatible with database solutions in the radio sector through its standardised interfaces. Various versions of the program are available for different areas of application.

More: www.lawo.de

WaveMachine Labs claims its Auria to be the first 48-track digital audio workstation designed exclusively for the iPad.

Aimed at professional studio and live tracking applications, Auria supports audio recording, mixing and editing, and AAF import/export of sessions between popular DAWs including Pro Tools, Nuendo and Logic. It also offers 64-bit double precision architecture,and up to 24 tracks of simultaneous recording using compatible USB audio interfaces.

The 48 (mono or stereo tracks) are recorded at 44.1kHz, 24-bits but higher sample rates are possible. Editing and mixing call on familiar tools and full parameter automation is available. Auria’s 64-bit Double Precision architecture ensures ample headroom for plug-in processing and mix summing.

Additional features show the ambition of WaveMachine Labs –customisable pan laws, meters that are selectable between peak and RMS, full delay compensation for all tracks including aux sends and sub-groups. Each channel offers a ‘vintage-inspired’ channel strip, while a a dedicated master channel strip and VST effects fromPSPaudioware, Overloud, Fab Filter and Drumagog further expand Auria’s capability – as does support for Dropbox, Soundcloud, AAF and MP3 file formats.

Key features:
• 48 tracks of simultaneous playback of stereo or mono files (24 tracks on iPad 1)
• Up to 24 tracks of simultaneous recording when used with compatible USB audio interfaces (Camera Connection Kit required)
• 44.1kHz, 48kHz and 96kHz sample rates (iPad 1 supports only 44.1kHz/48kHz)
• Vintage-inspired ChannelStrip on every channel by PSPAudioware includes Expander, Multiband EQ and Compressor
• MasterStrip on all subgroup and master channels featuring PSPAudioware BussPressor, EQ and Mastering Limiter
• 64-bit double-precision floating point mixing engine
• Convolution reverb plug-in with included IR library
• ClassicVerb reverb plug-in included
• StereoDelay and StereoChorus plugins included
• ReTune plugin included for auto pitch correction of vocals
• Eight assignable subgroups and two aux sends
• DropBox, SoundCloud and Audio Copy/Paste support
• Track freeze for minimizing CPU usage
• 100mm faders in Portrait Mode
• Optional video import feature allows sample accurate sync of video to an Auria project. Adjustable offset times and video export capability
• Timeline ruler options include minutes:seconds, bars:beats, samples and SMPTE time
• Auto-punch mode
• WIST support for wireless syncing of other compatible music apps
• AuriaLink allows two iPads running Auria to play and record in sync, allowing 96 tracks of playback and 48 tracks of recording
• Sample accurate loop function
• Automatic sample rate conversion
• Built-in metronome

Auria is available now for US$49.99/£34.99 via the app store.

More: www.wavemachinelabs.com

The Rupert Neve Designs 542 is a follow-up to the Portico 5042, offering ‘a remarkable simulation of classic tape sound’ through the inclusion of genuine tape drive circuitry and incorporating a number of new methods for adding ‘analogue colour’ to tracks and mixes.

The 542’s True Tape emulation circuit provides the rounding and compression typically achieved through the use of tape, and can offset the harshness often found in digital recordings. Unlike digital emulations, the True Tape drive circuit works by feeding a tiny magnetic ‘record head,’ which in turn is coupled to a correctly-equalised replay amplifier. As the voltage rises on the ‘record head,’ saturation increases and a soft-clip circuit engages at higher levels to round off peak transients. The sound of the tape circuit can be further modified with selectable 15ips and 30ips modes, providing a ‘saturation equalisation’ of sorts, and a pre/post-tape blend control. In addition to the tape circuit, the 542 includes the variable Silk/Texture circuitry found in the Portico II series of modules (with both Red and Blue modes), which allows fine-tuning of the harmonic ratio and tonality of the output transformer.

The nonlinear qualities of the True Tape head, Soft-Clip and Silk circuits can be combined and tuned by adjusting the saturation, blend and texture controls. These effects can improve their dynamic response. For example, a snare drum captured with a dynamic microphone that sounds ‘dead’ in the high-end could be run through the 542’s tape and Red Silk circuits to simultaneously thicken the low end and sweeten the high end. If the snare is overly dynamic, the saturation knob can push the signal into soft-clip mode, reducing transient spikes. Additionally, the blend control can be used to preserve the drum’s natural dynamics and transient content even with more extreme applications of soft-clip and saturation.

Similarly, using two 542s across a mix, the gain staging can be optimised such that the tape circuit provides extra intensity in the loudest sections before final compression and limiting. Using this technique can help retain a more dynamic feel, even after the dynamics have been reduced, as the instances with the most compression correspond to the instances that have more pleasant harmonic distortion provided by the True Tape circuitry.

With the addition of the 511 and 542 to the Portico 500 Series, which also includes the existing 517 Mic Pre/Compressor/DI and the 543 Mono Compressor, the 500 Series now has four versatile tone controllers and mic preamps. The list price of the Rupert Neve Designs 542 is US$895.

More: www.rupertneve.com

Incorporating preamp circuitry from the Rupert Neve Designs 517, sweepable high-pass filtering from the 5012 and the power of a variable Silk circuit derived from the company’s flagship Portico II Channel, the 511 is a ‘Rupert Neve-designed workhorse for any user’s most important tracks’.

For company founder and lead designer Rupert Neve, the design process was more intensive than copying existing designs: ‘Although creating a functional 500 Series mic pre is relatively simple, designing those modules to equal their non-500 Series counterparts with the current, voltage and space restraints is quite challenging,’ he says. ‘In creating the 511, we experimented with a number of different transformer and circuit topologies to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, the 511’s performance is nearly indistinguishable from standard Portico Series modules.’

The 511 can be used for both mic and line level sources, and with any ribbon, dynamic, condenser or tube microphone. A polarity reverse switch is available to address phase issues when using multiple microphones. The 12dB/octave high-pass filter can be used to remove rumble with minimal artifacts, and also to control proximity effect in close-miked vocals or other sources. To coax more harmonic content from the output transformer, the Silk Red mode can be engaged to add more thickness and sparkle in the high end as the Texture level is increased. While a little Silk Red can be used on nearly any source, but is especially suited to dynamic and ribbon microphones that are inherently lacking in high-frequency content.

With the addition of the 511 and 542 to the Portico 500 Series, which also includes the existing 517 Mic Pre/Compressor/DI and the 543 Mono Compressor, the 500 Series now has four versatile tone controllers and mic preamps. The list price of the Rupert Neve Designs 511 is US$650.

More: www.rupertneve.com

See also:
Rupert Neve Designs 542