The What: Clear-Com will be previewing its new color display V-Series Iris Panel—which can monitor and send communications over three concurrent AES67 uncompressed audio IP streams, enabling systems to deliver high-quality, uncompressed AES67 audio from user to user with reduced latency. When connected to Clear-Com’s new high-density E-IPA card, which is natively AES67 compliant, users can deploy up to 64 Iris panels per card.

The What Else: The Iris panel also offers fully color configurable OLED displays, delivering the user label and port information in dimly lit areas or full daylight. While the V-Series Iris panel will be optimized for a future accompanying versions of Eclipse HX software when running over AES67, it will still have IVC and 4-wire connections for backward compatibility with Eclipse frames running EHX 10.0 or earlier.

According to Clear-Com, the V-Series Iris panel is ideal for productions that have fully converted to IP-based communications for distribution of video and audio, enabling them to leverage the AES67-based V-Series Iris panels to piggyback intercom on a network. 

The Bottom Line: Production teams can take advantage of the flexibility offered by combining V-Series Iris panels and multiple high-density E-IPA cards for large events, whether in a stadium or worldwide using a multi-regional network via LAN, WAN or the internet.

V-Series Iris Panel is expected to be available in Q1 2019. It can be seen at AES New York 2018 in Booth 828.

The What: RTW will showcase its 19-inch 4U rack-mount (MA4U) version of its TM9 TouchMonitor at AES 2018 (Booth 504G – Avid Pavilion).

The What Else: The TM9 panel-mount version is 235 x 135 x 45 mm (appx 9.25 x 5.35 x 1.8 inches) without the power supply and is ideal for mounting into front panels. The unit comes standard with a USB extension for the front panel and the mounting kit is compatible with DIN 41494/IEC 60297 19-inch 4U racks (483 x 177 x 91 mm).

The product has a graphical user interface that can be scaled, randomly positioned ,and combined in almost every way for optimized use of available screen space. Even multiple instruments of the same type, assigned to different input channels and configurations, can be displayed simultaneously. Plus, a context-sensitive, on-screen help feature supports the user, allowing for setup changes with ease.

The latest firmware version of the TM9, which is also used with the TM7, expands the basic software to a four-channel display; 4x Mono or 2x Stereo/2x Mono. Additionally, 1x Stereo can be measured without the need of an activated multichannel license. Output routing can be individually adjusted for each preset and all presets can be exported or imported at the same time.

The Bottom Line: The reconfigured unit brings all the audio monitoring features of the standalone RTW TM9 in a new design that is more easily accessible to users in studio settings.

Equipped with RTW’s nine-inch touch screens and an easy-to-use GUI, the TM9 TouchMonitor is the latest in the company’s rack-mount solutions, which includes the TM3, TM7 and RTW legacy products.

The AES New York 2018 Technical Program—the highlight of the AES’s 70 Anniversary year—spans all audio specialties and topics, digging as deep as it is wide. The AES has posted online its detailed, interactive AES New York 2018 calendar of events for attendees to explore when planning their AES convention experience. The more than 330 presentations and workshops—offering an inside look at nearly every facet of the audio engineering industry—is available only with All Access registration. The AES New York 145 International Convention will be held October 17–20 at the Jacob Javits Center. Visit aesshow.com for the complete schedule of events.

The comprehensive Technical Program content, brought together by the organizing team led by co-chairs Paul Gallo, Valerie Tyler, and Jonathan Wyner, includes leading-edge topics like audio for virtual, augmented, and extended reality; networked audio; spatial and immersive audio; and game audio, along with core topics including broadcast and online delivery; sound reinforcement; recording and production; audio for cinema; and archiving and restoration. A dedicated track covers product development on the professional level within the product development track, while DIYers can learn and even construct hardware and write code in the new Audio Builders Workshop mini-track. Attendees learn about tomorrow’s technology today in the in-depth Papers and Posters sessions, where the latest in research into all areas of audio is presented.

All Access registration is attendees’ ticket to four full days featuring hundreds of research presentations, workshops, and tutorials from the leading audio engineering innovators and practitioners of the audio production arts. All Access badges include admittance to all onsite convention presentations, the exhibition floor, and the Special Events schedule—the complete convention experience, taking attendees’ audio engineering knowledge and understanding to the next level.

AES members receive substantial discounts when registering with online advance registration, and student members receive even deeper discounts. Additional AES student and career activities featured at AES New York will include recording and design competitions, an education and career fair, a new MATLAB plugin design competition, and numerous opportunities to network with peers and professionals from around the world. Compare registration options at aes.org/events/145/registration/.

Register now at aesshow.com for advance registration pricing and discounts on AES New York partner hotels. Registration at any level for AES New York 2018 includes access to the co-located NAB Show New York exhibition. AES Member and Student Member discounts apply.

Sound reinforcement pioneer and innovator John Meyer will deliver the AES New York 2018 Convention’s Heyser Memorial Lecture on Friday, October 19, at 6:30 p.m. Speaking on the topic “Taking the Room Out of the Loudspeaker: New Tools for Transparent Reproduction,” Meyer will share his expertise on loudspeaker design and applications from his 50-plus years as one of the most lauded names in the industry. The 145 AES International Convention is being held October 17–20 at the Jacob Javits Center in New York City. Advance Registration pricing is available through September 20 at aesshow.com.

Established in 1999 by the AES technical council and the board of governors, in conjunction with the Richard Heyser Scholarship fund, the Heyser Lecture series, featured at each AES Convention, brings eminent individuals in audio engineering and related fields to speak on a relevant topic of choice. Meyer—also an AES fellow and recipient of the AES Silver Medal award—offers the following abstract of his presentation:

“With few exceptions, loudspeakers are not used in a free field environment but rather in an enclosed acoustical space. This is inherently problematic, as an acoustical space behaves in a manner similar to that of loudspeakers, making it difficult to separate the problematic characteristics of each using common measurement tools or subjective listening tests. This lecture will review the history of loudspeaker measurement tools as used both in the free field and in acoustical space, including Richard Heyser’s pioneering TDM methods and Meyer Sound’s own SIM (Source Independent Measurement) systems. A key focus will be on a new multi-component studio monitor that exhibits absolutely flat amplitude and phase response from 27 Hz to 20 kHz. Because this system effectively ‘takes the room out of the loudspeaker,’ it opens up possibilities for correlating new objective testing techniques with subjective listening observations. The lecture also will discuss a new test signal known as M-Noise, which effectively mimics the dynamics of music and avoids inherent weaknesses in the use of pink noise with third-octave analyzers when testing loudspeaker systems used for music. The retrospective will touch on other benchmarks in the quest for linear sound amplification, including the early Glyph large-horn systems, the Grateful Dead’s ‘Wall of Sound’ and the HD-1 high resolution studio monitor, a trusted near-field reference that remains in Meyer Sound’s product line 29 years after its introduction.”

John Meyer’s career as an audio innovator was launched in the late 1960s when he started out as designer of custom amplification systems for guitarist Steve Miller. Meyer was then the creator of the legendary Glyph very large horn loudspeakers and he was the in-house loudspeaker designer at San Francisco’s McCune Sound Service. In the 1970s his audio research at the Institute for Advanced Musical Studies in Switzerland led to his first patent, awarded for a low-distortion horn design. In 1979 he co-founded (with his wife, Helen) Meyer Sound Laboratories, a company synonymous with innovations in loudspeaker design and acoustical measurement. Meyer led development of the SIM System for audio measurement, which was awarded the prestigious R&D 100 Award in 1992. Meyer Sound also pioneered development of self-powered sound reinforcement loudspeakers with introduction of the MSL-4 in 1994, launching a trend that has since revolutionized the industry. Throughout his career, Meyer has focused on development of linear loudspeaker systems, with his R&D team most recently achieving phase linearity from 20 kHz down to 27 Hz with the Bluehorn System studio monitor.

For further information on the AES New York Heyser Lecture, as well as the complete All Access Technical Program of events and experiences that comprehensively covers all things audio, visit aesshow.com.