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AES Academy 2020 Announces Professional Audio Presenters and Topics

AES Academy is set to take place January 16 — 19 during The NAMM Show 2020 in Anaheim, CA

AES Academy is set to take place January 16 — 19 during The NAMM Show 2020 in Anaheim, CA

 — Technical Presentations, Career Development, Expert Presenters and Hands-On Training come together for four days of events during AES Academy at The NAMM Show 2020 in Anaheim, CA —


The upcoming AES Academy 2020 at the NAMM Show, taking place January 16 – 19, in Anaheim, CA, offers an unprecedented chance to join the AES for four days of expert presentations and hands-on training from a diverse group of top names in the industry. Whether you’re a seasoned AES Convention attendee or new to the industry, AES Academy offers an affordable way to experience some of the many resources that the Audio Engineering Society has to offer. Advance Registration pricing begins at a slashed rate of $25 for AES members, and the non-member rate of $150 ($75 for students) includes a full year of AES membership and benefits. 


AES Academy 2020 is set to feature some of the most talented audio engineering practitioners covering a range of educational topics of importance to audio engineers, musicians and students, alike. For one low price, attendees are offered over 100 topical session and events, such as taking part in an Audio Careers mentoring session with living-legend Leslie Ann Jones of Skywalker Sound and mastering engineer Jett Galindo of The Bakery, getting studio production training insights from Produce Like A Pro’s Warren Huart in the Audio Education Academy or learning studio design from the renowned John Storyk in a Control Room Academy session. Other presenters include famed engineer and producer Sylvia Massy, noted engineer and author Bobby Owsinski, musician and mix engineer Brad Divens who leads mix instruction at fixintogetmixin, audio engineer for music and film Lenise Bent, AES Academy program director and touring monitor engineer Mark Frink, AES’s next President-Elect and mastering engineer, Jonathan Wyner, and dozens more.


Another unique aspect of AES Academy is the hands-on training, with sessions set to include Allen & Heath dLive training, as well as Yamaha training on the Rivage PM10/PM7 and CL/QL Series consoles. These popular events are open to a limited number of participants and require separate registration, affordably priced at $25 per session.

 

Visit aesacademy2020.com for complete program and presenter information. Register before January 10 for best pricing on AES Academy badges, as well as a special offer to attend the The NAMM Show 2020 at a discounted rate.


About AES Academy 2020Designed especially for AES members and those looking to experience what the Audio Engineering Society has to offer, AES Academy 2020 offers four days of sessions covering core audio topics and issues of interest to attendees looking to take their production skills to the next level. Taking place in conjunction with The NAMM Show 2020, January 16 – 19, 2020, AES Academy sessions offer insight into Line Arrays, Entertainment Wireless Technology, In-Ear Monitoring, Recording Studio Technology and Applications, Microphones: Studio and Live, Electronic Dance Music, Sound System Measurement and Optimization, Sound for House of Worship, Audio Education, Audio Careers, Audio Science & Technology, Live Console Training, and more. Advance Registration pricing ends January 10, and AES Members receive a deep discount on badges, while non-Member registration includes one year of free AES Membership and access to exclusive AES resources and networking opportunities. Visit aesacademy2020.com to register now.

 

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Posted: Wednesday, December 4, 2019

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Read the Latest Edition of the AES Journal

Read the Latest Edition of the AES Journal

Read the Latest Edition of the AES Journal

The Journal of the Audio Engineering Society — the official publication of the AES — is the only peer-reviewed journal devoted exclusively to audio technology. Published 10 times each year, it is available to all AES members and subscribers.

The Journal contains state-of-the-art technical papers and engineering reports; feature articles covering timely topics; pre and post reports of AES conventions and other society activities; news from AES sections around the world; Standards and Education Committee work; membership news, patents, new products, and newsworthy developments in the field of audio.

Read the latest edition of the Journal online, now, with features including the AES Headphone Technology Conference Report, article "Headphone Technology: Hear-Through, Bone Conduction, and Noise Canceling," a feature on new AES Officers for 2020, and more at aes.org/journal

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Posted: Monday, November 25, 2019

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Exhibitors Praise Success of AES New York 2019 Convention

Attendees gather at the opening of the AES New York 2019 Convention Exhibition Hall at the Jacob Javits Center on Wednesday, October 16, 20. AES New York 2019 featured 130 sessions hosted on the Exhibition Hall's Inspiration Stages and in its topical Theaters, alongside 236 brands showcasing their latest products and services, with total event registration once again topping 14,000

Attendees gather at the opening of the AES New York 2019 Convention Exhibition Hall at the Jacob Javits Center on Wednesday, October 16, 20. AES New York 2019 featured 130 sessions hosted on the Exhibition Hall's Inspiration Stages and in its topical Theaters, alongside 236 brands showcasing their latest products and services, with total event registration once again topping 14,000

The aisles were bustling, the booths packed, the energy and enthusiasm high as the attendees of AES New York 2019 surged into the Convention’s Exhibition Hall in October. Leading members of the professional audio community and exhibitors at the 147th AES Convention shared their thoughts on the event’s success. 


“AES was a tremendous event to be a part of as it has expanded its reach to a very diversified audience,” stated Antoine Ibrahim, communications manager for professional audio software developer iZotope. “During the show, we were able to connect with our valued customers as well as engage with professionals in all aspects of programming that have never gotten a first-hand look at our products. We were happy to be able to contribute and feel its success will only continue.”


Like iZotope, iconic microphone-maker Shure participated in providing technical content during the AES Convention along with its exhibition hall presence. “The AES Show proved again to be incredibly valuable for sharing ideas and best practices in audio,” commented Celino Ullegue, Shure Pro Audio’s senior marketing specialist. “From first-time student attendees to veteran engineers, we’re excited to support the audio community and look forward to AES New York 2020.” 


The Audio Engineering Society’s 2019 New York Convention’s registration exceeded 14,000, with a similar registration count for the co-located NAB Show New York 2019. The open access of registrants of either show to both exhibitions allowed content creation and media production professionals and future professionals to intermingle while exploring the latest offerings from hundreds of audio and visual media gear brands and service providers.


AES New York 2019 evidenced fruit of the Society’s ongoing outreach initiatives into underrepresented industry segments and genres. Focusrite Novation director of marketing Hanna Bliss expounds that “AES was a real success for Focusrite and Focusrite Pro because we were talking both to our existing customers about advancing their journey with us into new upgraded products or solutions, and to new customers by way of more women, more students, more non-traditional audio professionals. The crowd was more diverse and inclusive, and the shift towards a new wave of acceptance in the audio industry was visible, palpable, and encouraged.”


“Not only was traffic up, but there seemed to be a great deal of optimism. The students that came through were very inquisitive and interested, which alone made the AES show a worthwhile investment,” stated Gary Boss, Audio-Technica Marketing Director, Professional Markets.


Professional audio manufacturers choose the annual AES Convention to launch new products and make corporate announcements, as with Solid State Logic, which announced a new all-analog console, new U.S. operational management via distributor Group One Limited and the return of an industry veteran to work with the Group One team. “This year’s AES Show was significant for two reasons,” says Phil Wagner, now SSL’s North American-based senior vice president. “First, I’m pleased to return to my alma mater, SSL. Second, we specifically chose AES to introduce the new Origin Analog inline audio console because we knew it would be the perfect audience. This was truly the most exciting show ever; we had crowds around our booth from open to close.” 


Avid, who exhibited its hardware and production tools during AES New York, also welcomed over two dozen collaborators into the Avid Partner Pavilion in the Exhibition Hall. “This show enables us to engage with our customers, helping them better understand our portfolio, grow our business, launch new products, and showcase our developer partners,” stated Avid audio product evangelist Greg “Stryke” Chin. “Avid is proud to be an exhibitor and partner with AES and look forward to what’s to come!”


The 149th AES International Pro Audio Convention – AES New York 2020 – will return to the Javits Center October 21 to 24, 2020 (Exhibition October 21 – 23).


For more information on the Audio Engineering Society, visit www.aes.org


Posted: Thursday, November 7, 2019

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Survey on Micro Aggressions in the Studio — Invitation to Participate -- University of Lethbridge

Survey on Micro Aggressions in the Studio — Invitation to Participate -- University of Lethbridge

 

Dear audio colleagues,

We are inviting you to participate in an anonymous online survey that aims to capture important demographic information about the audio industry, and recording producers and engineers’ experiences of discrimination and micro aggressions (defined as indirect, subtle, or unintentional discrimination against members of a marginalized group) within the studio. The survey is aimed towards individuals who during the last ten years have worked in music production as a recording producer, an engineer, a mastering engineer, or a studio assistant on other people’s music. The results from the study will be used for academic, educational and industry purposes. The survey should take about 20-30 minutes to complete and is divided into two parts.


Survey link: Bit.ly/microaggressions_in_audio


The survey will be available until December 20th and has been translated into nineteen languages. It can be accessed on your smartphone, tablet, or PC. Your responses to this survey will remain anonymous. Individual responses will not be able to be traced back to individual respondents. The anonymous data will be accessible only by our research team, select AES members who will assist in translation, and the survey administrators of the University of Lethbridge (Canada) who will all have signed a confidentiality agreement. There are minimal anticipated psychological and or emotional risks from taking part in this survey. You can stop answering questions at any time. You may withdraw your participation at any time by closing your browser. You are also free to answer or not answer any questions (other than the demographic data questions). Your data will be stored only once you submit your responses.


This study is being conducted by recording producer Dr. Amandine Pras and cultural sociologist Dr. Athena Elafros, both from the University of Lethbridge, in partnership with the AES Diversity and Inclusion Committee, and with the support of the Social Sciences and Humanities Research Council of Canada (SSHRC). The micro aggressions portions of the survey (including micro aggressions statements) are based upon previous peer-reviewed publications on micro aggressions in the workplace.


Even if you do not feel that you personally have experienced micro aggressions or discrimination, we still encourage you to respond. We also encourage you to share the survey link with your colleagues.


If you have questions about the study, you may contact Amandine.Pras@uleth.ca or +1 (403) 332-5261. You may also contact the Office of Research Ethics at the University of Lethbridge at research.services@uleth.ca or +1 (403) 329-2747 if you have questions about your rights as a participant. This research has been reviewed for ethical acceptability and approved by the University of Lethbridge Human Subject Research Committee.

Dr. Amandine Pras & Dr. Athena Elafros
Assistant Professors at the University of Lethbridge
Grace Brooks, PhD Candidate, McGill University

 


Posted: Wednesday, October 30, 2019

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AES New York 2019 Convention Presents Best Peer-Reviewed and Student Paper Awards

JAES Editor Bozena Kostek with AES New York 2019 Papers Co-chairs Areti Andreopoulou and Braxton Boren presenting the Best Peer-Reviewed Paper Award to two of four authors of the paper, Ulrike Sloma and Stephan Werner

JAES Editor Bozena Kostek with AES New York 2019 Papers Co-chairs Areti Andreopoulou and Braxton Boren presenting the Best Peer-Reviewed Paper Award to two of four authors of the paper, Ulrike Sloma and Stephan Werner

— AES Best Papers Awards highlight top research and advancements in the field of audio engineering —

The winners of the Best Peer-Reviewed Paper and Best Student Paper presented during the recent AES New York 2019 Convention were announced in the Convention’s Opening Ceremonies on October 16 by Journal of the Audio Engineering Society Editor Bozena Kostek and 147th AES International Pro Audio Convention Papers Co-chairs Areti Andreopoulou and Braxton Boren. The awards highlight outstanding contributions from among the submissions of 100 authors from around the world covering the latest research on topics including Loudspeakers, Audio Quality, Applications, Spatial Audio, Processing, Perception, Audio Education and more.

 

This year’s Best Peer-Reviewed Paper Award goes to Ulrike Sloma, Florian Klein, Stephan Werner, and Tyson Pappachan Kannookadan for their paper “Synthesis of Binaural Room Impulse Responses for Different Listening Positions Considering the Source Directivity.”

 

Abstract:
A popular goal in research on virtual and augmented acoustic realities is the implementation of realistic room acoustics and sound source characteristics. Additionally, listeners want to move around, explore the virtual or augmented environments. One way to realize position-dynamic synthesis is the use of binaural technologies on the basis of real measurements. While this approach allows the successful reproduction of the real acoustic environment, many listening positions need to be measured. To reduce time and effort, new methods have been invented to calculate binaural room impulse responses from few positions. The presented work enhances existing synthesis methods by including predefined sound source directivities into calculation of binaural room impulse responses. The results are analyzed in a physical and in a perceptive way.

 

The Best Student Paper Award goes to Robert Hupke and co-authors Lukas Beyer, Marcel Nophut, Stephan Preihs and Jürgen Peissig for their paper “Effect of a Global Metronome on Ensemble Accuracy in Networked Music Performance.”

 

Abstract:
Several rhythmic experiments with pairs drawn from a group of 23 subjects were performed to investigate the effect of a global metronome on the ensemble accuracy in Networked Music Performance (NMP). Artificial delays up to 91ms were inserted into the audio transmission between the subjects. To investigate the dependencies between delay times, ensemble accuracy and the highly synchronized global metronome, the experiments were evaluated in terms of tempo acceleration, imprecision and subjective judgment of the ensemble play. The results show that the global metronome leads to a stabilization of the tempo acceleration caused by the delay. The imprecision stays constant to a threshold of about 28ms and 36ms, depending on the delay compensating strategy the subjects used.

 

The full lineup of Papers presented during the AES New York 2019 Convention is available now in the AES E-Library at aes.org/e-lib. 


Posted: Tuesday, October 29, 2019

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Inspiration Abounds at AES New York 2019

Attendees take in the AES New York 2019 Exhibition floor, hosting 236 exhibiting brands alongside 130 sessions on the Exhibition Hall's Inspiration Stages and in its topical Theaters

Attendees take in the AES New York 2019 Exhibition floor, hosting 236 exhibiting brands alongside 130 sessions on the Exhibition Hall's Inspiration Stages and in its topical Theaters

The 147th Audio Engineering Society International Pro Audio Convention rocks the Javits Center with four days of everything audio 

 

Under the banner Inspire, professional audio’s annual family reunion returned to New York City’s Javits Center for four October days where inspiration was abundant as leading audio innovators shared their knowledge and experience alongside gear designed to spark creativity and imagination while enhancing productivity. The personal contact that makes the audio industry a community was intertwined with educational experiences and the sharing of information crafted to provide attendees with resources to propel their careers forward.

 

“The program rocked, and the exhibits were packed with people. Everyone was very excited to be there,” shares Agnieszka Roginska, AES New York 2019 co-chair and AES president-elect. “No time in AES’s history has seen a more diverse, innovative and forward-looking program.” Convention co-chair and AES Secretary Valerie Tyler elaborates, “We expanded the comprehensive technical program to include more genres, a broader range of new technologies and a wider breadth of voices than ever before.” 

 

“We’re so proud of the team that came together to make this convention a reality,” adds Jonathan Wyner, the third of the Convention’s co-chairs. “From the technical program to the exhibition hall, the interests of every attendee were met. Expanded topics drew new attendees and let long-time attendees expand their horizons.”

 

The Convention’s wealth of opportunity – more than 750 of professional audio’s leading innovators presenting in the more than 330 sessions in the All Access Technical Program and the 130 sessions on the Exhibition Hall’s Inspiration Stages and in its topical Theaters, alongside 236 exhibiting brands – was evident in the registration numbers, according to Colleen Harper, AES Executive Director. “Registration for the Audio Engineering Society’s 147th International Pro Audio Convention again topped 14,000,” she says. “That includes a 20% increase in individuals opting for an All Access badge for the full Technical Program. The AES and our events are more relevant than ever to an industry where technology and its application are in a constant state of change.” 

 

“Over the last few years,” says producer/engineer and AES New York 2019 presenter Warren Huart, “AES has actively been bringing in and cultivating young Engineers. This year’s show was amazing testament to this. Plus, all the exhibitors brought their ‘A Game’! Everyone’s booths showed a massive range of products, and the diversity of modern and legacy products was the best it’s ever been. It was so gratifying to see the huge amount of innovation on display!” 

 

That blend of modern and vintage was exemplified by console maker API’s presence at AES New York 2019, where the company celebrated its 50th anniversary. It was “a great show for API,” says the company’s owner and president, Larry Droppa, “aided by the museum display in our booth, which provided not only a history lesson for the younger generation, but a chance for our contemporaries to reminisce over the 'glory days' of tape-based recording. Attendees were enthusiastic about the state of the industry. We were particularly pleased with the number of student groups and younger audio engineer/producers who value the listening process as much as the advances in technology."

 

Showing further appreciation for AES’s nurturing of the audio professionals that are the future of both the Society and the audio industry, Genelec Inc.’s marketing director Will Eggleston sums up AES New York 2019 by declaring, “The AES audio community is alive and vibrant, indeed. It’s so great to see so many enthusiastic young audio professionals participating and doing so many cool things.”

 

 

On the AES event calendar for 2020 are the AES Academy in January in Anaheim, the AES Worship Sound Academy in Nashville in March, the AES Vienna 2020 Convention in May, the Audio Educators Conference in Murfreesboro/Nashville in July and the AVAR Conference in Redmond, Washington in August. AES New York returns to the Javits Center October 21 – 24, 2020. To learn more about AES regional events, International Conferences and Conventions, visit www.aes.org/events


Posted: Wednesday, October 23, 2019

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AES New York 2019 Awards Ceremony Recognizes Industry Achievements and Contributions to the Audio Engineering Society

AES New York 2019 Convention keynote speaker Grandmaster Flash shows off his AES Honorary Member award, given for pioneering revolutionary and influential implementations of audio and music technologies for performance.

AES New York 2019 Convention keynote speaker Grandmaster Flash shows off his AES Honorary Member award, given for pioneering revolutionary and influential implementations of audio and music technologies for performance.

The opening ceremonies of the 147th Audio Engineering Society Convention took place on Wednesday, October 16, at the Javits Center in New York, featuring the presentation of this year’s AES Awards, along with welcoming remarks from AES President Nadja Wallaszkovits and AES New York Convention committee members Agniezska Roginska, Valerie Tyler and Jonathan Wyner. Awards were presented by Alex Case, AES Awards Committee Chair.

 

The awards presented include the following: 

 

The Silver Medal Award, given in recognition of outstanding development or achievement in the field of audio engineering. This year’s recipients are:

  • Marina Bosi, in recognition of outstanding achievements in the development and standardization of audio and video coding and of secure digital rights management.
  • Louis D. Fielder, for extraordinary contributions to the field of perceptual audio coding, and years of service to the Audio Engineering Society. 

 

The Board of Governors Award, given for outstanding contributions to the Audio Engineering Society, has been presented to:

  • Gavin Kearney, in recognition of co-chairing the 2019 AES International Conference on Immersive and Interactive Audio.
  • Mariana Lopez, in recognition of co-chairing the 146th AES Convention in Dublin.
  • Michael Santucci, in recognition of co-chairing the 2018 International AES Conference on Hearing Disorders.
  • Jim Starzynski, for outstanding leadership and contributions to the AES Audio Guidelines for Over the Top Television and Video Streaming Technical Group within the Broadcast and Online Delivery Technical Committee.
  • Jonathan Wyner, in recognition of co-chairing the 145th AES Convention in New York.  

 

The Fellowship Award, given to a member who has rendered conspicuous service, or is recognized to have made a valuable contribution to the advancement in or dissemination of knowledge of audio engineering or in the promotion of its application in practice, has been presented to:

  • Anthony Agnello, for the continuous invention of influential disruptive audio technologies.
  • Martha de Francisco, for conspicuous commitment to audio education and mentorship and support of the Audio Engineering Society.
  • Michael Kelly, for significant contributions to the Society’s leadership in Game Audio.
  • John Krivit, for conspicuous commitment to audio student education and mentorship.
  • Jan Abildgaard Pedersen, for advancements in the field of loudspeaker design and for his substantial contributions to the Audio Engineering Society. 
  • Josh Reiss, for valuable contributions to, and for encouraging and guiding the next generation of researchers in, the development of audio and musical signal processing.
  • Takehiro Sugimoto, in recognition of his diverse contributions to the development and standardization of 22.2 multichannel sound broadcasting systems. 
  • Terri Winston, for providing training, resources, and leadership, greatly expanding the participation of young girls and women in the field of audio engineering.

 

The Citation Award, given in recognition of services to the Society or industry accomplishments by non-members, has been presented to:

  • Pat Parker, for over 40 years of invaluable contributions to Audio Engineering Society conventions. 

 

The Honorary Member designation, given to persons of outstanding repute and eminence in the science of audio engineering or its allied arts, has been given to:

  • Grandmaster Flash, for pioneering revolutionary and influential implementations of audio and music technologies for performance.

 

The Distinguished Service Medal Award, given in recognition of extraordinary service, has been presented to:

  • Garry Margolis, in recognition of more than 20 years of dedicated service to the Society as a Section Officer, Governor, Treasurer and President. 


Posted: Tuesday, October 22, 2019

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AES New York 2019 Acoustics and Psychoacoustics Track Will Bridge the Theoretical and Practical

AES New York 2019 to feature Acoustics and Psychoacoustics Track events taking place October 16 — 19 at the Javits Center

AES New York 2019 to feature Acoustics and Psychoacoustics Track events taking place October 16 — 19 at the Javits Center

At the upcoming AES New York 2019 convention, taking place October 16 – 19 at the Jacob Javits Center, the Acoustics and Psychoacoustics Track will feature nine events over the convention’s four days that explore the way we hear and the ways the spaces we listen in affect perception. Acoustics and Psychoacoustics Track chair Alex Case has curated the program, which is dedicated to the prospect that, as Case notes, “all who listen hear better when they know more about the science behind acoustics and psychoacoustics.” 


Highlights are set to include the following:


On Thursday, October 17, the session “Circles of Confusion” will feature panelists Sean Olive (Harman International) and Susan Rogers (Berklee College of Music) alongside moderator Thomas Lund (Genelec). The session brief asserts that circles of confusion in pro audio are replacing technical limitations with cognitive limitations. Further, without proper anchoring of spectral balance and level, drifting over time is foreseeable in self-referenced systems, thereby putting legacy recordings at the risk of sounding dated for no good reason. The panel will discuss monitoring requirements that stand the test of time, recent studies on active sensing, variation in perception between listeners and “slow listening.” Also discussed will be a possible revision of ITU-R BS.1116.


Expanding on the topics discussed in “Circles of Confusion,” “Circles of Excellence” will take place the next day, on Friday, October 18. This panel addresses the topics from a more practical perspective. Thomas Lund again serves as moderator, alongside panelists Florian Camerer, ORF (Austrian TV and European Broadcasting Union), Bob Katz (Digital Domain Mastering) and George Massenburg (Schulich School of Music at McGill University, and Centre for Interdisciplinary Research in Music Media and Technology [CIRMMT]). The experts on the panel will try to separate the facts from the myths surrounding recording, monitoring and reproduction, and explain which of the elements they have found most essential in their work to make it stand the test of time.


Also on Friday, “Listening Tests - Understanding the Basic Concepts” will be presented by Jan Berg (Luleå University of Technology - Piteå, Sweden). Listening tests are important tools for audio professionals as they assist our understanding of audio quality. There are numerous examples of tests, either formally recommended and widely used or specially devised for a single occasion. In order to understand listening tests and related methods, and also to potentially design and fully benefit from their results, some basic knowledge is required. This tutorial aims to address audio professionals without prior knowledge of listening test design and evaluation with the fundamentals of what to ask for, how to do it, whom to engage as listeners, what sort of results that may be expected, and additional related issues.


For more information on the entire program for the Acoustics & Psychoacoustics Track, visit http://www.aes.org/events/147/acousticssessions/. The Acoustics & Psychoacoustics is open to attendees with an All Access badge, available through Monday, October 14 at 11:00 pm EDT at Advance Registration discount pricing, with AES Members and Students receiving significant savings. Find out more about the AES New York and register now at aesshow.com 

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Posted: Saturday, October 12, 2019

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AES New York 2019 Historical Sessions Give Insight to Audio Innovations

AES New York 2019 Convention Historical Track Chair, Gary Gottlieb

AES New York 2019 Convention Historical Track Chair, Gary Gottlieb

— Highlight sessions include historical insights audio innovators including Rudy Van Gelder, Tom Dowd, and Spike Jones, among others —

The Audio Engineering Society is an invaluable resource to all who want to learn about the achievements of audio innovators whose contributions we honor, and build-upon, to this day. This year’s Historical Track events, taking place at the AES New York 2019 Convention, October 16 – 19 at the Javits Center, spotlight a wide range of audio pioneers and technologies, and offer insights into our rich audio history while paying tribute to our mentors. 

 

“The Historical Committee has been hard at work providing a diverse and thought-provoking program for this convention,” states AES New York 2019 Historical Track chair Gary Gottlieb. “Ranging from classic figures in our history like Rudy Van Gelder, Tom Dowd, and Spike Jones, to diverse sessions exploring contributions of women in audio, hip-hop engineers, and a look into the evolution of audio equipment, including microphones, compressors, and pitch effects – we offer something for anyone interested in audio!”

 

One highlight of this year’s Historical Track is a session titled “Rudy Van Gelder: A Legacy in Audio Engineering,” which will take an in-depth look at his unique approach to recording and production for laying to tape hundreds of classic jazz recordings spanning a period of over five decades. Always on the cutting edge of technology, AES Gold Medal recipient Van Gelder used a plethora of state-of-the-art tools to create “the Van Gelder Sound,” a distinct and easily recognizable sonic fingerprint that helped define the sound of jazz on record during the classic analog era of the 1950s and 1960s. Sharing that story will be Michael Cuscuna, producer and founder of Mosaic Records, and Don Sickler, publisher and co-founder of Second Floor Music (Sickler, along with his wife Maureen, currently run the Englewood Cliffs studio), and Richard Capeless of Deep Groove Mono.

 

The Session “Spike Jones: Preposterous Precision” will undoubtedly offer an entertaining look at musical innovator whose influential style and wit took his roles of bandleader, musician, and comedian took his production to new heights. Professor Mike Wisland will present Spike’s life including his childhood and early professional career, leading to the formation of his massively successful parody band, Spike Jones and his City Slickers, in addition to a video presentation by Emily Taggart on the bandboy of Spike’s, Skip Craig, followed by Q&A with Spike’s daughter – and highly-successful recording engineer - Leslie Ann Jones.

 

Thursday evening will offer a special Limiter Engagement Screening for AES New York attendees of Tom Dowd and the Language of Music which will take place at the Dolby Theater. This independently produced feature-length documentary gives a detailed look the long-time engineer and producer for Atlantic Records, who was responsible for some of the most important R&B, rock, and jazz records ever made. The film will be followed by a talk with Tom’s daughter, Dana Dowd, who will share memories and answer questions from the audience. Seating is limited and by advance ticket only, available at the AES New York Convention’s at registration.

 

For details on these and other AES New York Historical Track events, visit and register before October 15 to save up to $100 on your All Access badge.

 

For more information on the AES New York 2019 Historical Track sessions visit aes.org/events/147/historical/ . The Historical Track Track is open to attendees with an All Access badge, available through October 14 (11:00 pm EDT) at Advance Registration discount pricing with AES Members and Students receiving significant savings. Find out more about the AES New York and register now at aesshow.com


Posted: Saturday, October 12, 2019

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Networked Audio Makes Connections at AES New York 2019

AES New York Networked Audio Track chair Bob Lee

AES New York Networked Audio Track chair Bob Lee

Networked audio continues to play an ever-expanding role in a wide variety of pro audio applications, from recording and production, to live sound, installs, and more, with a near ubiquity of network capabilities on new gear and the bridging of proprietary standards by the AES67 and AES70 protocols. The Audio Networking Track events, taking place during the AES New York Convention, October 16 – 19 at the Javits Center, are set to connect the latest technologies and techniques with attendees looking to take their audio networking skills to the next level.


“Networking technology in audio systems are increasingly becoming the norm and not the exception,” states AES New York Networked Audio Track chair Bob Lee. “We in the audio industry have been fortunate to be able to leverage the off-the-shelf technology developed by the IT industry to meet our needs reliably and economically. I’ve assembled this program to provide many varied opportunities for convention participants to learn from and interact with the experts in a range of topics. If you’re in audio and want to come away with less uncertainty and more confidence in using networked audio in your work, this is the track for you.”


Networked Audio events kick-off on the Convention opening day with a premier panel “Solution-Based Approaches for Networked Audio in Live Production” moderated by Dan Ferrisi (Sound & Communications) with panelists Tim Boot (Global Brand Strategist, Meyer Sound), Genio Kronaue,( L-Acoustics), Morten Lave (Adamson Systems Engineering), Patrice Lavoie, (Solotech) and Jamie Pollock (Kore Audio Design). The panel will cover topics including scalability, IT expertise and planning, along with insights from the panelists’ years of industry experience.


The AES70 networked control standard will be examined in “An Introductory Tutorial to AES70” later that day. Presenters Jeff Berryman and Ethan Wetzell from Bosch Communications, and representing the OCA Alliance, will team up with Simon Jones from Focusrite to introduce participants to AES70, the AES standard on Open Control Architecture (OCA). This session is partnered with the Product Development session “How to Add AES70 Control to Your Products” on Saturday, October 19.


Also on Saturday, Patrick Killianey (Audinate) will present “What Audio Engineers Need to Know about Media Networks,” a reprise of a popular session in the Networked Audio track. Killianey is an engaging and entertaining educator specializing on the growing integration of network and AV technologies. Audio engineers increasingly need to become familiar and conversant with how to use IT resources in their work, and this session is designed to illuminate the concepts behind structurally designing a medium sized network for an installation, recording studio or live production.


Additional featured sessions taking place include: “Introducing A2B – A Low-Latency Digital Audio Bus Standard” with Joseph Beauchemin (Analog Devices) and Denis Labrecque (DeLab Consulting); “Network Audio Strategies: Charting Software, Hardware, Internet Requirements” presented by Sarah Weaver (NowNet Arts); and Saturday’s “Network Media Open Specifications (NMOS) — How They Relate to Audio Networking” with Andreas Hildebrand (ALC NetworX).


For more information on the entire program for the Networked Audio Track, please visit http://www.aes.org/events/147/networkedaudio. The Networked Audio Track is open to attendees with an All Access badge, available through 11 pm EDT, Monday, October 14, at Advance Registration discount pricing with AES Members and Students receiving significant savings. Find out more about the AES New York and register now at aesshow.com 

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Posted: Friday, October 11, 2019

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