Recording: Barry’s Top New Product Picks From The 127th AES Convention In New York City

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Barry’s Top New Product Picks From The 127th AES Convention In New York City

Plenty of exciting new plug-ins, and don't forget about new hardware - recorders, ribbon microphones, and more

Oct. 13, 2009, by Barry Rudolph

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There are eight high-quality microphone preamps with XLR inputs to record up to 96 kHz/24-bit audio with timecode on dual compact flash cards that support mirroring and cascade modes.

A stereo mix can be recorded in addition to the eight individual channels (10 tracks total) on this recorder housed in an aluminum chassis and with a TFT color touch screen.

Features: long battery life through low power usage, four-track recording at 192 kHz/24-bit, Broadcast WAV (BWF) support with iXML metadata, up to 5-second pre-record buffer, and internal microphone for slate recording.

More features: limiter and low cut filter per track, auto or manual cue points, alert signal to headphone output, retake function, and panel lockout.

Power options include AA batteries (x10), NP type, AC adaptor, external DC input and optional V-mount adaptor for ENDURA batteries.

More at http://www.tascam.com

Shure KSM 313 & KSM 353 Ribbon Microphones

Shure’s recent acquisition of Crowley Tripp microphones is great news for ribbon mic fanciers—like me.

These two mics are exactly like the originals and both feature the magical Roswellite ribbon material.

Roswellite is a super-elastic conductive and magnetic composite with shape memory and low inertia—you can wad it up like a chewing gum wrapper and it will instantly reform into its originally manufactured shape.

It is impervious to wind blasts and phantom power jolts yet is lithe enough to be used as a microphone diaphragm.

The KSM 313 is dual-voiced—each side has a different sound while the KSM 353 is the Cadillac model—a stainless steel tube with a large, double-shielded output transformer. It’s especially good for studio and concert hall recording.

Both mics are hand built and come in wooden boxes.

More at http://www.shure.com

Tube-Tech RM 2

Tube-Tech has built the RM 2, a two-channel (and more affordable) version of their eight-channel RM 8 rack that’ll hold two modules (instead of the RM 8’s eight) like the CM 1A (a module version of the CL 1B opto-compressor), the PM 1A mic pre-amp, or the EM 1A equalizer.

Since all these processors are tube-based, the RM 2’s power supply and internal voltage rails are specifically built offering much higher supply voltages than the 500 series racks can offer.

This is a great way to get into the sound of Tube-Tech—the CL 1B is my favorite vocal compressor of all time.

More at http://www.tube-tech.com

Glyph GT 062E Raid

Based on the original GT 062 raid drive with its multiple drive modes selectable with the Glyph Manager software utility, the 062E adds an eSATA port for blazing fast performance.

The Firewire standard is being depreciated because it is too slow for modern DAW systems—you’ll start to see the newer computers and peripherals without it soon.

The GT 062E uses the next generation Oxford 936 chip, and hits over 200MB/s sustained throughput over eSATA in RAID 0 mode. That kind of speed is perfect for DAW mega track/region counts, or for high-def video editing.

The GT 062E supports up to 3TB using 7,200-RPM drives, and 4TB using 5,900 RPM. All models support RAID 0, RAID 1, and spanning modes.

More at http://www.glyphtech.com/products/gt062e/