Ok folks. I make no apologies. I am unabashedly audio obsessed. So prepare yourself for a gratuitous review of my highlights of Prolight and SOUND, Frankfurt 2013. There shall be no lighting here.

Solid State Logic Live

Known worldwide for their high-grade analogue and digital studio mixing consoles, SSL announced their first digital live sound mixer – aptly called the SSL Live – at Frankfurt 2013. Based on “Tempest’, their newly developed processing platform, the console offers a massive 976 inputs and outputs and 192 full processing channels.

All controls, system configuration and effects are reflected in a 19′, multi-touch gesture controlled screen, and an additional system control screen displays a widespread view at a glance of all signal paths including VCAs, stem groups, auxes.
All processing is built into the control surface with full EQ, dynamics processing and effects with 64-bit, 96kHz internal precision throughout. Locally there are 14 SuperAnalogue mic/line inputs; two talkback inputs; 12 line outputs; four headphone/monitor outputs; four AES3 input/output pairs; and an expansion slot to for an additional 16 line I/O.

Standard MADI I/O includes two redundant pairs of coaxial connectors, which can be configured as independent if redundancy is not required. An additional MADI port is included for creation of an FX loop to a laptop, for instance. SSL Blacklight II cards can be retrofitted to supply additional I/O up to 256 bidirectional channels. The ML 32.32 stage box includes 32 SuperAnalogue remote controlled mic/line inputs and 32 line outputs. Multiple units can be used to create larger systems.

Avid Pro Tools 11

The latest version of Avid’s preeminent digital audio work station, Pro Tools 11, was announced at this year’s Musikmesse / Prolight and Sound in Hall 5.1.
A completely new 64-bit Avid audio engine has been implemented that delivers many times the processing power of Pro Tools 10 on identical hardware. Offline bounce is now a reality which enables users to mix down up to 150 times faster. A low-latency input buffer allows ultra-low latency monitoring while recording without compromising plugin performance and dynamic host processing increases plugin count by dynamically redistributing processing resources.

Metering has also been given an upgrade with extended standards support which features metering standards from simple peak, VU and PPM to broadcast requirements. Gain reduction is also now reflected on any channel containing a compressor plugin. Video facilities also received an upgrade with direct HD video workflows.

Video interface support is now a reality which enables streaming of DNxHD and Quicktime media through Avid Nitris, Mojo DX and other third party interfaces.

Yamaha Nuage

The long awaited Yamaha Nuage was showcased at the Yamaha stand in Hall 8.0.
The Nuage is a modular DAW control solution aimed at users of Steinberg’s Nuendo 6, which is included in the Nuage package. Scalable to meet the needs of the user, there are three core components of the system: the Nuage Fader, a channel strip control surface with a bank of 16 faders; the Nuage Master, a central control unit for the Nuage system where all crucial functions are located; and the Nuage I/O, three 16-channel I/O models with varying configurations used individually or in combination for up to 128 channels on the Dante protocol.

Other additions to the Nuage family of products includes the Nuage Workspace, a producers desk addition to the range; the Dante Accelerator, an audio interface installed on the working PC for extra low-latency multi-channel audio data transfer to the Nuage I/O units; and the Nuendo Syncstation, a hardware synchroniser for sample-accurate sync between audio and video systems.

Any aftermarket flat panel display can be used with the Nuage system but is not supplied with the package.

RME MADIface XT

RME, the leading audio interface manufacturer from Germany, introduced the world’s first USB3 audio interface in Hall 8.0: the MADIface XT.
The MADIface XT is a 196 input / 198 output interface that boasts two MADI optical I/O and one MADI coaxial I/O. On the front face of the unit there are two high-end, digitally controlled mic/line inputs on XLR / 1/4′ combo jacks and on the rear there are two analogue XLR line outputs.

A breakout cable accommodates one stereo AES/EBU and one MIDI I/O. Three further virtual MIDI I/O are embedded in the three MADI streams. For utmost compatibility and performance the MADIface XT includes a PCI Express D-Sub connection for connection to external PCI express cards. All connections are fully 192kHz compatible and for desktop operation RME’s optional Advanced Remote Control can be connected.

Rupert Neve Designs 5060 Centerpiece 24 x 2 Desktop Mixer

The 5060 Centerpiece 24 x 2 analogue desktop mixer was announced by Rupert Neve Designs at Musikmesse / Prolight and Sound 2013.
Designed to the be a recording studio’s Class A analogue centrepiece, the 5060 is based on the sound and centre section of the company’s flagship 5088 studio console and includes top notch components such as custom transformers and offers flexible monitoring, DAW controls and 24 channels of outboard summing.
Source and multiple speaker selection are also offered along with monitor dimming. All 24 line inputs are fed via three DB25 connectors. The first eight channels can be either stereo or centre panned mono and the last 16 are stereo.

Inserts are available for the first eight line-ins for external processing – also on DB25 connectors – along with mix inserts on TRS. A continuously variable texture control for Silk Red and Blue modes allows mix bus coloration via harmonic enhancement by reducing the negative feedback on the output transformer.
Full talkback facilities are included in the 5060, along with universally compatible DAW transport controls and a reference grade headphone amplifier. Mix bus metering is reflected in two full-scale VU meters.