From Geoff Tanner of Aurora Audio:
I walked around the show and a number of things grabbed my attention. I liked Dan Kennedy's new EQ and was fascinated by the Pro Tools plugin for the Neve 1084 and API EQs. They sounded pretty close to my ancient ears!
The new Universal Audio 2-1176 Twin Vintage Limiting Amplifier looked cool and is the sort of thing that you wonder why it wasn't thought of decades before. Andy
Munro's massive Dynaudio wedge-shaped monitor stack looked pretty damn awesome too.
From Bowisc from the Harmony Central Recording forum:
Among the many items shown at the 2003 A.E.S. show, there were a few items that really left a lasting impression on me.
First, there was the Chandler Limited TG1, a stereo limiter/compressor based on the modules found on EMI consoles in the early 1970s. From a few feet away I could hear the drum tracks that were looped to play over and over into various racked pieces of gear that were on display. I was immediately drawn to the source coming from the Chandler booth. Racked along with other Chandler boxes, the TG1 stood out with style, having the appearance of something out of an old submarine or warship. I love those vintage VU meters! I started turning knobs on the thing and loved what was coming out. But it wasn't until I switched the unit from compression to limiting that really made me admire the TG1. The drum loops were given some serious thick tone, yet very clear, spacious, and defined. I was surprised at how I could squash the very life out of this drum track and it still retain clarity. The top end remained pleasant to the ears without falling apart. "There’s got to be tubes inside," I thought. But, it turned out there were no tubes -- just serious vintage vibe going on.
Another noticeable item was the upcoming Great River EQ-2NV Mercenary Edition over at the Great River Electronics booth. I almost knocked someone down (sorry, Les Paul) rushing over to check it out. The EQ-2NV is Dan Kennedy’s new creation, and I found it racked just above the well-respected MP-2NV preamp. Also on display was the one-channel version, the EQ-1NV at the top. By this time, I was trying to get a hold of myself. From a visual standpoint, I found the EQ-2NV and EQ-1NV to look great. Everything was clearly labeled, feeling very ergonomic, and of top-notch build. Having the same look as the NV pres hinted at some kind of marriage between the two beyond appearance. I later learned that the EQ was designed with enough flexibility that allows it to interface with the MP-2NV and ME-1NV preamps. Very creative. I took notice of the two mid-frequency sections of the EQ, and how there are three different bandwidth settings to choose from -- all at the push of a button. I kept thinking there were no deadends in terms of being able to dial in frequencies to your heart's delight. In listening, I found the EQ-2NV really allows you to tweak your signal either aggressively, or with subtleness. Either way, something good happens. This EQ is certainly vintage flavor with firmed up sonics and a sweet sound. I liked the flexibility. I found that I could manipulate tone all over the place and still have something that sounded musical.
From Glenn Bucci from Recording dot Org:
One of the things that really caught my eye at the AES were the five new channels strips from SSL. I think we all wished we could work on a SSL mixer to record, but we know we don't have the $275,000 to get one. They include the XLogic Multichannel Compressor, XLogic Compressor, X Logic Channel, XLogic Mic Amp (4 pres), and the XLogic Mic Amp Remote. The SSL representative told me that the channel in XLogic Channel had the same specs as in their mixers. It was too bad that we could not hear them with a pair of headphones on like many other booths were offering. So I cannot comment on the sound of any of the new units.
The Mackie X is of course very exciting, as it looks like it would be a strong competitive unit against the Yamaha DM2000. Do you prefer to work with touch screen or knobs? I have used the Sony DMXR100 and found the screens very nice to work with, and I actually preferred it over working with a standard digital mixer.
I was also glad that the Manley Labs' and George Massenburg's booths allowed you to hear their equipment. Most stores do not carry their gear, and to hear the uncolored Massenburg EQ was amazing. When your mixes are just right and you need to master, nothing will be better than the Massenburg EQ. If it needs more help with bass sounding dull or shrill highs, the Massive Passive would do a great job as it has some color to calm things down. I was able to try the Manley Massive Passive, Vox Box, Langevin Dual Vocal Channel, Slam, and saw the front panel of the new Mini Massive. Guess what folks, all these units are worth evey penny.
As we all know, all Manley equipment is very well built, and feels solid and rugged. I tried out the Vox Box. The biggest plus for me was the input and gain controls. By putting the gain low and the input high, it had a smoother sound. By putting the gain up and input lower, it gave a hotter sound. So depending on your application, you can get various sounds out of the Vox Box mic pre. I compared it to the Langevin Dual Vocal Channel, which has more of a vintage sound. I would be very happy if I also had a Vox Box in my studio.The EQ and compression on the unit also worked very well.
The Massive Passive is really a sweet EQ that is worth every penny. It is gentle. It is sweet. The knobs feel good and sturdy. It is very flexible, and yet with all the knobs, it is simple to use. I compared it to the George Massenburg mastering EQ. Wow what a difference between the two. George’s EQ has no colorization at all. It's transparent and just adjusts the frequencies. The Massive added some gentle color that is not a bad thing at all. I can actually say you would benefit by having both in your studio.
