Hip-hop icon Grandmaster Flash to give AES New York opening-day keynote address "Evolution of the Beat" on October 16 at 12:00pm
— Legendary innovator of early DJ techniques and hip-hop stylings set to address 147th International Audio Engineering Society attendees —
In the tradition of bringing the best in audio industry pioneers and luminaries to an international forum of AES Convention attendees, the Audio Engineering Society has announced that music icon and innovator Grandmaster Flash will give the opening-day keynote address, “Evolution of the Beat,” at the AES New York Convention on October 16 at 12:00pm.
Grandmaster Flash is inarguably one of hip-hop’s original innovators. Emerging in the 1970s from the South Bronx in the earliest days of the genre, he manipulated music by placing his fingers on the vinyl, perfecting beat looping, and discovering many of the seminal beats still commonly sampled today. His influence on how music is created has been profound, and it’s no surprise that the New York Times calls him hip-hop’s first virtuoso.
“Hip-hop is unique – an art form that seized upon existing technology and warped its use into a new art form,” says multiple-GRAMMY®-winning producer, engineer, artist and educator Prince Charles Alexander, who will introduce Grandmaster Flash to the AES opening ceremony crowd. “This new genre drove technological innovation, enabling further musical creativity and driving more innovation in a cycle that continues today. AES is delighted that Grandmaster Flash, a pioneer and pacesetter in the hip-hop community, is bringing his unique perspectives to the AES New York opening ceremonies.”
As part of the convention’s Special Events series, this presentation is open to all AES New York attendees, including those with complimentary Exhibits-Plus passes, free when using code “AES19NOW” at online registration checkout. For everything the Convention has to offer, All Access AES New York Advance Registration prices and options are still available, with AES Members and Students receiving significant savings. Find out more about the AES New York Special Events program and register now at aesshow.com.
Posted: Tuesday, September 17, 2019
Attendees take part in an Audio Builders Workshop build during last year's AES New York 2018 Convention
— AES New York 2019 to feature Audio Builder Workshop product build events on the exhibition floor, as well as in-depth sessions in the All Access Technical Program —
For a growing number of audio engineers, musicians, and enthusiasts, having an intimate knowledge of their gear and of possible tweaks and modifications has become a major asset to creating and obtaining extraordinary sounds. The Audio Builders Workshop Track at the 147th AES International Professional Audio Convention, October 16 – 19 at New York City’s Javits Center, is set to offer attendees an expanded array of opportunities to learn about hardware construction and modification, and even to try their hand at DIY projects sure to inspire and lead them to their next build. Session topics will include reviving esoteric gear, powering up custom builds, scaling DIY ideas into a business and teaching DIY skills in the classroom. Additional hands-on demonstrations with kit makers and expert builders will take place all day during the Convention’s exhibition (October 16 – 18). DIY activities will conclude with a hands-on build clinic on Saturday, October 19 in the Javits South Concourse, open to all registered attendees.
Audio Builders Workshop Track Co-Chair Owen Curtin offers, “For this year’s Audio Builders Workshop sessions we will be hands-on with soldering and other crucial skills, and once again, Mouser Electronics has made a generous donation that lets us bring tools and parts to teach attendees more about electronics and DIY pro audio.”
Track Co-Chair Chris Kincaid adds, “I’m thrilled about this groundswell of support and interest in DIY that came into its own last year with the launch of the Audio Builders Workshop Track at AES. As an educator, I’m particularly excited to share our panel on DIY projects that teachers can use in the classroom.”
Technical Program sessions, open to those with All Access registration, span all four days of the convention, beginning with “Classroom DIY Projects” and “Custom Consoles / Power and Grounding” on Wednesday. The presentations “Project to Product” and “Reviving Classic and Esoteric Tech” will follow on Thursday and Friday, respectively. Saturday will bring together attendees together for the “DIY Build Clinic: Starting Your Next Build Today with Audio Builders Workshop,” a three-hour session open to attendees of all experience levels, from which participants will leave with a working audio tool (pre-registration and a purchase of the kit required – more information here).
Noted presenters at previous DIY events are signed on for AES New York. “You’ll want to stop by because I’ll be giving soldering lessons,” shares AES Fellow and president of Digital Domain Mastering, Bob Katz. Founder of DIY.RE, Peterson Goodwin, who will be part of the Saturday DIY Build Clinic, promises that the workshops will “show people first-hand that, ‘Yes, you can build and repair your own audio gear.’"
Microphone-Parts.com founder Matthew McGlynn notes that he is looking forward to meeting the builders during AES New York 2019 to “help them launch their DIY audio efforts.” Freelance instrument designer Mike Buffington, who says he’s been fortunate to work on “some incredible projects” for Wally Debecker of Gotye, restoring and replicating rare electronic instruments, is eager to “share some of what I have learned with the AES community” through his participation in the Audio Builders Workshop Track.
Advance Registration prices and options are still available for the AES New York 2019 Pro Audio Convention, with AES Members and students saving significantly on All Access badges. Free Exhibits-Plus registration is also available when using code “AES19NOW” at checkout.
Posted: Wednesday, September 11, 2019
Magdalena Piotrowska, AES New York Student and Career Development chair
— Student events offer a wealth of opportunity to Listen, Learn and Connect during the Audio Engineering Society’s 147th International Professional Audio Convention —
For aspiring audio professionals looking to take their audio education and career to the next level, there’s no better place to start than the Student and Career Development events taking place during this year’s AES New York Convention, October 16 – 19 at the Javits Center. With heavily discounted registration pricing, AES student members and non-members alike are encouraged to take part in what is sure to be a foundational and inspirational audio experience. The full schedule of Student and Career Development events is now available, and sessions are open to All Access registered attendees, offering a variety of opportunities to listen, learn, and connect with fellow students and professionals alike.
Organized by AES New York Student and Career Development chair Magdalena Piotrowska and the AES Student Delegate Assembly, this year’s convention will once again host top educators and industry experts offering their insights into what it takes to be successful in an audio engineering career. “The mission of AES Conventions is to facilitate the free exchange of knowledge, and to offer a chance for audio engineers to learn from each other, on every level,” states Piotrowska. “The Student and Career Development Track events are designed to encourage both audio students and teachers to reach for the next level in their experience, while networking and sharing ideas – and it all takes place during the biggest Audio Engineering Society event of the year.”
As with all things audio, critical listening is a key tool in discerning and understanding an array of concepts that, ultimately, result in the desired sound experience – or not. The panel discussion “Essential Elements of Ear Training for Contemporary Audio Engineers” will provide attendees with a chance to experience the theoretical and empirical considerations of ear-training programs through both listening and training examples, and will further examine the importance of “listening” in the current video-oriented society.
Another popular Student and Career Development event held at AES Conventions is the Education and Career Fair, taking place on Friday, which serves to match job seekers with companies and prospective students with schools, as well as expand students’ knowledge of potential career paths. Additionally, Friday will also host the annual AES New York High School Education Day, offering a chance for the next generation of audio students to experience, and become involved with, the Audio Engineering Society and its wealth of educational opportunities and resources. Those attendees seeking the most efficient paths to their career goals and beyond will also find the Recent Graduate Panel of interest, in a discussion exploring real-life work, job hunting, and creative experiences of recent graduates in the industry.
AES New York will also host the Student Recording Competition and Design Competitions, the second edition of the AES MatLab Plugin Student Competition, and Student Recording Critiques, where submitted recordings, designs, and software are constructively critiqued by a panel of professionals. Other educational sessions include “Mix It! Improving Your Mixes and Your Mixing Workflow” and “Empowering the Next-Generation of Audio Industry Leaders,” as well as two mentoring workshops hosted by SPARS and Sound Girls, respectively, a session on “Resume Review (for Students, Recent Grads, and Young Professionals)“ and additional chances to get involved through AES Student Delegate Assembly meetings, and more. The deadline for submissions to the Student Recording Competition and Design Competition is September 18.
Advance Registration prices and options are still available, with students saving up 75% on All Access badges. Free Exhibits-Plus registration is also available when using code “AES19NOW” at checkout.
Posted: Tuesday, September 10, 2019
Dedicated events offer insights into dance music production at the AES New York Convention, October 16 — 19 at the Jacob Javits Center.
— Dedicated events offer insights into dance music production —
The AES New York 2019 Convention is introducing an afternoon dedicated to electronic music producers. For the first time in its 70-plus year history, electronic producers from across the globe will come together for an afternoon of sessions covering the disciplines of the craft. Over the course of four hours, award-winning industry professionals will share their intimate knowledge of electronic music production. AES New York Electronic Dance Music Track Events will take place Thursday, October 17, and are open to All Access registered attendees during the New York 2019 Pro Audio Convention, October 16 – 19 at the Jacob Javits Center.
The day kicks off with multi-platinum/GRAMMY®-winning mix engineer Ariel Borujow, breaking down a full mix of an electronic music track in the “Mixing EDM Masterclass.” Borujow will discuss all aspects of his approach, from his mindset and communication with the client to the techniques that go into creating the feel while keeping the client’s vision of the production.
Electronic Dance Music Track events continue with the session “The Art & Origins of Sampling: From Vinyl to DAW; From Hip-Hop to Dance Music,” Nate Mars from the Electronic Music Collective will be discussing the fundamentals of the sampling art form used not just by electronic musicians but also by all producers and DJs.
Rounding the afternoon out, Rick Snoman, award-winning remixer, producer and author of the industry standard textbook Dance Music Manual, will walk attendees through the art of a remix. Focusing on the production of great remixes, Snoman will introduce the initial decisions of what to keep, how to develop on the original idea, and how to imprint the remixer’s identity onto the finished product.
AES New York All Access attendees can take part in this historic afternoon of Electronic Dance Music Track events with the all-star lineup of presenters and other industry professionals (details here), and visit the main exhibition floor for demos of the latest tech – guaranteed to satisfy any music enthusiast’s appetite.
Advance Registration prices and options are still available, as well as select housing options through AES partner hotels. Find out more and register now at aesshow.com.
Posted: Thursday, September 5, 2019
Registration opens August 28 for the upcoming AES Academy 2020 in Anaheim in January
— Held in conjunction with The 2020 NAMM Show, the AES Academy offers four days of career enhancement for the professional audio community —
The Audio Engineering Society has announced that Advance Registration opens today, August 28 for AES Academy 2020. Held in conjunction with The NAMM Show in Anaheim, CA, January 16 – 19, 2020, the AES Academy features presentations that offer a unique opportunity for the pro-audio community to experience the latest production tools and techniques for studio and stage applications.
“AES Academy events provide audio engineers an opportunity to refresh their skills and learn best practices in expert-led sessions while networking with other professionals at a key time of the year for the industry,” states AES Academy Program Director Mark Frink.
The four-day AES Academy (formerly AES@NAMM) comprises a series of Training Academies and related sessions covering line-array technologies, live-sound mixing consoles, studio and wireless microphones and control room environments, in addition to tutorials on sound system measurement and optimization and other insights into the audio sciences and their application.
AES Academy sessions are held in the NAMM U Education Center on the fourth floor of the Anaheim Hilton on The NAMM Show campus.
Key activities in AES Academy 2020’s comprehensive schedule of training sessions and career enhancement activities include:
The Measurement & Optimization Academy returns with AFMG’s Bruce Olson and Excelsior’s Charlie Hughes presenting Thursday and Friday morning, Rational Acoustics’ James Anderson and Chris Tsanjouries present Thursday through Saturday afternoons and iSEMcon’s Wolfgang Frank finishes each day with a presentation on measurement microphones.
In its third year, the Live Console Academy returns with four days of sessions where technical partners Yamaha and Allen & Heath will host a variety of twice daily, half-day hands-on console training workshops. The Line Array Academy also offers four days of workshops in a classroom setting. Bringing the boom is the focus of the newly developed Electronic Dance Music (EDM) Academy on Saturday. Daily live sound Keynote sessions will be held on the AES Academy’s Main Stage: Live.
On Thursday, Audio Science & Technology sessions present specially curated topics in one-hour sessions. The Control Room Academy will present four two-hour training sessions, both Thursday and Friday, on control room applications of leading technologies.
On Friday, the In Ear Monitor Academy returns with sessions covering all aspects of IEM fundamentals. As in previous years, Free Hearing Screening and Free Digital IEM Scanning by Ultimate Ears will be available in the AES Academy registration area on the Hilton’s fourth floor. Microphone Academy events on Friday will explore DPA Microphone’s piano, orchestra and choir mic solutions, Townsend Labs’ virtual microphone and Royer Labs’ ribbon mics. On Saturday, the Wireless Academy returns, leading off with a special 2020 spectrum update panel highlighting recent changes to U.S. RF spectrum availability. Saturday also features a special House of Worship focus of console and wireless sessions.
Recording guru and noted author Bobby Owsinski returns by popular demand for a special Main Stage Studio series of Saturday sessions. Also on Saturday, the new Audio Education Academy sessions will offer innovative educational insights to high school and college audio educators.
All AES Academy sessions are available to current AES members, including students, at a $25 advance registration rate. AES Memberships ($125 for professionals, $50 for students) are available online if you wish to join prior to registering. Non-member Advance Registration is $150 for professionals and $75 for students. Credential pickup will be in the Anaheim Hilton’s fourth-floor AES registration lounge (on-site registration rates will be higher than Advance Registration fees).
AES Academy registrants can purchase discounted badges to The 2020 NAMM Show exhibits and may additionally purchase tickets to Saturday night’s TEC Awards, in advance or at on-site registration. NAMM Exhibits badges are just $25 for AES Academy attendees before November 1.
Find out more at aesacademy2020.com, and register now to join us in Anaheim.
Posted: Thursday, August 29, 2019
The AES is set to hold its second International Headphone Technology Conference, August 27—29 at the Golden Gate Club, Presidio, San Francisco, CA, offering three days of presentations, sessions, demonstrations, and more, all dedicated to headphone technology.
— Mobile Spatial Audio, Individualization, Assistive Listening and Audio for Augmented Reality offer new areas of study and innovation for this year’s conference —
The AES is set to hold its second International Headphone Technology Conference, August 27–29 at the Golden Gate Club, Presidio, San Francisco, CA. The Conference offers three days of presentations, sessions, demonstrations, and more, all dedicated to headphone technology, with a special emphasis on the emerging fields of Mobile Spatial Audio, Individualization, Assistive Listening and Audio for Augmented Reality.
“We are eager to bring this topic to the international stage, once again, after the overwhelming success of our 2016 Conference in Denmark,” states Conference co-chair Christopher Struck. “As the role, and very definition, of ‘headphones’ continues to evolve, we plan to take a closer look at how new applications, technical designs, and evaluation of headphone technology and its impact can be applied to the headphone, hearing aid and audio delivery industries across the board.”
A highlight of AES Conferences are the guest keynote speakers, of which the Headphone Technology Conference offers six. These include Prof. Michael Vorländer (Aachen University) speaking on “Acoustic Transparency of Earphones and Headphones”; a talk on “HRTF Modeling and Rendering” with Prof. Ramani Duraiswami (University of Maryland); and Prof. Dorte Hammershøi (Aalborg University) with her remarks on “Hearing Damage Risk from Headphone-Based Listening.”
Scientific research papers – now available for preview in the AES E-Library - will also be presented, covering an array of topics including active noise cancellation, signal processing, virtualization, test and measurement, modeling, binaural rendering, and more. Demonstrations of headphone measurement, response simulation and rapid HRTF rendering will be a part of Tuesday’s and Wednesday’s afternoon sessions, in addition to poster presentations and sponsor exhibits. Other highlights include a workshop titled “Measuring 3D Directivity of Microphones and Radiated Sound in Headsets and Hearables" by Robert Werner of Klippel GmbH, and a Workshop/Panel Discussion on "Practical Considerations of Commercially Viable Headphones" with Moderator Michael Klasco (Menlo Scientific, Ltd) leading a discussion with panelists John Patrick Quigley (Eastman Chemical Company), Christopher Struck (CJS-Labs), and Mark Donaldson (SoundChip).
The full technical program, keynote speaker schedule, and more are available online at aes.org/conferences/2019/headphones.
Posted: Friday, August 23, 2019
Jessica Thompson, AES New York Archiving and Restoration Track chair
— Whether archiving the latest audio formats or preserving historical recordings, the 147th Audio Engineering Society Pro Audio Convention offers insights into the latest technologies and techniques —
From the moment a sound wave is recorded, there are critical actions that can be taken to ensure that that piece of audio will live its fullest life for many years to come – from equipment and session documentation, to proper crediting of those involved and correct handling and storage for the chosen format. The AES New York 2019 Pro Audio Convention, October 16 – 19 at the Jacob Javits Center, will feature four days of dedicated Archiving and Restoration sessions led by top practitioners in the industry.
“In my second year curating this track, I wanted to highlight important but less frequently discussed topics in audio archiving and restoration,” states AES New York Archiving and Restoration Track chair Jessica Thompson. “We talk a lot about magnetic tape and disc preservation, but who is digitizing all of those amazing indie, hip-hop and punk recordings from the 90’s that are locked away on ADATs and DA-88s? How are we developing and evolving best practices in the preservation of multitrack recordings, both on analog formats and in DAWs? And what about all that metadata? I'm excited to hear from a diverse group of contributors from institutions such as the Library of Congress, NYPL, Iron Mountain, Pandora, and Harvard, as well as independent practitioners who are in the trenches doing this crucial work to preserve our audio heritage.”
Highlights of AES New York Archiving and Restoration sessions include:
“Preserving Hip-Hop” – Sommer McCoy of Mixtape Museum / Brooklyn Academy of Music has assembled a solid crew of DJs, preservationists, and historians to discuss the nuances of preserving Hip-Hop music. Panelists Manny Faces, Syreeta Gates, and DJ Rich Nice will talk about the difficulty of finding and maintaining the technological tools required to preserve beats, samples, and mixtapes, as well as answer questions around who controls the narrative of these musical artifacts, and the benefits of academic vs. community-driven preservation projects.
“Restoring Hank Williams” – in this session, Jett Williams will share newly transferred and restored transcription disc recordings made by her father, Hank Williams, for the Health & Happiness and Mother's Best radio shows. Producer Cheryl Pawelski, mastering engineer and restoration specialist Michael Graves, and Hank Williams Estate representative Kelly Zumwalt will be on board to discuss the curatorial and technical process of preserving these historic recordings.
“Archiving the 90s!” – Audio preservation is often focused on the earliest recordings made on disc or magnetic tape. But what about recordings made on DA-88s and ADATs? Jason Bitner, Eddie Ciletti, David Ackerman, Catherine Vericolli and Kelly Pribble will tackle the specific technical challenges of Archiving the 90s!
Other Archiving and Preservation sessions being held at AES New York include presentations such as “You Mean You Wanted Those Tracks??: The Challenges of Preserving Multitrack Recordings,” “Metadata from Creation to Consumption to Preservation,” “Preserve This Podcast,” and “Finding Funding: How To Connect Archival Audio Collections and Funders.”
AES New York All Access registration is the ticket to everything the largest dedicated pro audio event and exhibition of the year has to offer, including all Archiving and Restoration sessions – four full days of the best in pro audio education, gear, networking opportunities, and much more.
Advance Registration prices and options are still available, as well as select housing options through AES partner hotels. Find out more and register now at aesshow.com.
Posted: Thursday, August 22, 2019
Louis D. Fielder, Psychoacoustics and Audio Coding Pioneer, to Give Heyser Lecture at AES New York 2019
— AES Fellow and former Society president takes the stage of the lauded lecture series to share insights from his vast experience in research and development of cutting-edge industry technologies —
The Audio Engineering Society has announced that Louis D. Fielder, a leading researcher in the fields of psychoacoustics and audio coding, will deliver the Heyser Memorial Lecture at the upcoming AES New York Convention on Thursday, October 17 at 6:30 pm. Offering insights from decades of industry research and development, Fielder will deliver the lecture titled “Psychoacoustics Applied to Dynamic-Range and Nonlinear-Distortion Assessment” as part of the Special Events series taking place during the AES New York Convention, October 16 – 19.
“The psychoacoustics of noise detection, measurements of noise in the digital-audio recording / storage / reproduction chain, and measurements of peak-acoustic pressures in music performances are combined to determine the requirements for noise-free reproduction of music,” begins Fielder’s abstract for the lecture. “It is found that the required ratio between the maximum reproduction levels and the perceived audibility of noise can be as much as 124 decibels. When more practical circumstances are considered, this requirement is shown to drop to more feasible values.” The lecture will continue by examining how auditory masking allows for the assessment of nonlinear distortions in digital-audio conversion systems operating at low-signal levels, along with examples of digital-audio conversion systems. Fielder’s lecture will conclude with a discussion of expanded use of masking and present a model for determining non-linear distortions in headphones and low-frequency loudspeakers.
“Louis Fielder’s expertise and experience exemplify the stature of Heyser Lecture presenters,” shares AES Technical Council Chair Steve Hutt. “As we celebrate the 20th year of the Heyser Lecture series, we are delighted to bring Louis to the stage to share his unique insights.”
Fielder’s industry experience began in 1976 as an electronic component designer for custom sound reinforcement systems at Paul Veneklasen and Associates. In 1978, he became involved in digital-audio and magnetic recording research at the Ampex Corporation. His interest in applying psychoacoustics to the design and analysis of digital-audio conversion systems soon led to other career opportunities, including his work at Dolby Laboratories (1984 – 2018) on the application of psychoacoustics to the development of audio systems and the development of a number of bit-rate reduction audio coders for music distribution, transmission, and storage applications including AC-1, AC-2, AC-3, Enhanced AC-3, AAC, and Dolby E. Additionally, Fielder managed the Sound Technology Research Department at Dolby Laboratories in San Francisco (2005 – 2009) and has led further research into perceptually derived limits for the performance for digital audio conversion, low-frequency loudspeaker systems, distortion limits for loudspeakers/headphones, loudspeaker-room equalization, and headphone virtualization. Other industry involvement and recognition include his status as a life Fellow of the AES, a recipient of the AES Silver Medal Award, a senior life member of the IEEE, a life member of the SMPTE, and an emeritus member of the Acoustical Society of America. Fielder served on the AES Board of Governors (1990–1992), as AES President (1994 – 1995) and as AES Treasurer (2005 – 2009).
The Richard C. Heyser Memorial Lecture series, hosted by the AES Technical Council at each convention, honors the extensive contributions to the Society made by Heyser, who was widely known for his ability to communicate new and complex technical ideas with great clarity and patience.
Visit aesshow.com to find out how you can attend the AES New York Convention’s Heyser Memorial Lecture, as part of the Convention’s four full days of pro audio events, exhibition and networking opportunities with audio engineers from around the world.
Posted: Wednesday, August 21, 2019
The Audio Engineering Society Educational Foundations announces 2019 grants and scholarships recipients. (Graphic by Noël Anderson)
The Educational Foundation of the Audio Engineering Society is pleased to announce the recipients of the 2019 AES Educational Grants for Graduate Studies in Audio Engineering. The announcement was made by Don Puluse, President of the AES Educational Foundation (AESEF), on behalf of the foundation’s Board of Directors. The 2019 grant awards are as follows:
Audio Precision’s Advancing Audio – Tom Kite Scholarship is awarded to Claire Wenner, a student at the University of Rochester, working towards an MS in electrical and computer engineering. Her BS is in audio and music engineering. She is Vice President of the UR student AES. Claire has created a new type of FM synthesizer featuring intuitive analog control.
The Dolby Institute Scholar is Peng Huang, who earns an MA in audio sciences at Peabody Institute of Johns Hopkins University. He also has a BA from Peabody. After completing an undergraduate in China, Peng served as a freelance engineer and won six CSMPTE Sound Academy Awards. He has a keen interest in audio science.
The Genelec Ilpo Martikainen Audio Visionary Scholar is Christian Steinmetz, who will earn an MS in music computing from Universitat Pompeu Fabra, Barcelona. He holds a BS in EE and BA in audio technology from Clemson University. Christian was the first recipient of the AES Educational Foundation Mary Lea Simpson Memorial Scholarship in 2018. He has a research interest in audio signal processing and machine learning with a focus on intelligent music production systems that aid audio engineers.
Our 2019 L-Acoustics Dr. Christian Heil Scholar is Ben Creelman. He is pursuing an MM in sound recording from McGill University. Ben is a former recipient of the AES Educational Foundation John Eargle Award. His interests include film sound and visual media. He has also built a mix interface responsive to listener’s behavior.
The first PMC Sound for the Future AES Scholarship recipient is Dora Filipovic. She is a PhD candidate in Digital Media Arts at the University of Surrey. Her previous degrees are from the University of Arts in Belgrade, Serbia. Her documentary, Glances of Closed Eyes, examines sound and its impact on socialization through the experience of individuals who are blind or otherwise visually impaired. Dora’s continuation of her research in this field uses three dimensional sound in virtual reality to enable discovery of new theories about auditory perception.
Marta Gospodarek is the John Eargle Scholar for 2019. She will earn a PhD in music technology and performing arts at NYU Steinhardt School. Her master’s degree in sound engineering is from The Fryderyk Chopin University of Music in Warsaw. Marta earned a Gold Award in an AES Convention student recording competition and is the author of two AES papers.
Ibrahim Onafeko is the Larry Estrin Scholar. He is pursuing an MA in Audio Technology from American University and has a BS is from Howard University. Ibrahim has experience in radio and podcast production, including working for Sirius FM Radio.
Kathleen Zhang is named the Bruce Swedien “Music First” Scholar. She is working towards a PhD in sound recording at McGill University and has an MM and BM in music technology from NYU. Kathleen has also studied at IRCAM. She is founding member and current co-president of the NYU Recording Engineer and Producer Group.
The Emil Torick Scholar for 2019 is Bartlomiej Chojnacki, a PhD candidate in acoustics from AGH University of Science and Technology, Krakow. Chair of the International AES SDA and author of over 20 scientific papers, several in the AES E-Library, Bartlomiej also won the Silver award in AES Convention Student Design Competitions in 2016 and 2017.
Andrea Genovese receives a renewal grant for his PhD in music and performing arts from NYU’s Steinhardt School. He holds a degree in electronic engineering with music technology systems from York University, UK, as well as a MEng degree from York University. Andrea has published six AES papers.
The Foundation accepts Jacob Hollebon’s grant renewal request. Jacob is receiving his PhD in virtual acoustics at the University of Southampton, UK. His BS in physics is from the University of Warwick, and his MS from the University of South Hampton.
Claudia Nader Jaime is studying at the University of York, earning a PhD from the department of Theatre, Film, TV and Interactive Media. Her previous studies were at Academia de Musica Fermatta and the University of York.
Yuanwu Jiang is pursuing a PhD in mechanical engineering at the Pusan National University in Korea, and has a master’s degree from the University of Shanghai and Pusan for Science and Technology.
Dan Johnston studies at York University towards a PhD in music technology. His previous study was at the University of York and South Downs College, Portsmouth, Hampshire.
Julian Neri is at McGill University, studying for a PhD in music technology. His BS is in engineering mechanics and astronautics from the University of Wisconsin, and his MA is from McGill.
Ryan Miller attends Belmont University, working on an MS in audio engineering technology. His BS EE is from the University of Wisconsin.
Cristina Ochoa pursues an MS in Acoustics from Penn State University. She is a graduate of the Colorado School of Mines and has an MFA from Middle Tennessee State University.
Hyunjoung Yang, with a BA from Dong-Ah Institute of Media and Arts (DIMA), attends McGill University, pursuing an MM in sound recording.
The AES Educational Foundation was established in 1984 to encourage talented students to enter the profession of audio engineering. Grants for graduate studies with emphasis on audio topics are awarded annually. Recipients are selected on the basis of demonstrated talent, achievements, goals and recommendations.
The AES Educational Foundation is affiliated with the Audio Engineering Society. Grants have been made possible by contributions from the estate of John K. Hilliard, Audio Precision, Dolby, Genelec, HARMAN International Industries Inc., JBL Inc., L-Acoustics, PMC, the Mix Foundation for Excellence in Audio, the families of John Eargle, David Smith, Mary Lea Simpson, Emil Torick and the family and friends of Bruce Swedien, Don and Fran Pearson and Larry Estrin.
The Foundation also receives support from other benefactors such as in-memoriam donors, and individuals and companies that support education in audio. Application forms and additional information are available from the Audio Engineering Society, 551 Fifth Ave., Suite 1225, New York, NY 10176, USA, or on its web site: www.aes.org/education/foundation/.
Posted: Tuesday, August 20, 2019
The AES International Automotive Audio Conference takes place September 11 — 13 at the Audi Driving Experience Center in Neuburg an der Donau (Bavaria), Germany
Preliminary program details for the upcoming Audio Engineering Society International Conference on Automotive Audio – including a detailed program schedule, keynote speakers, online registration, and more – are now online. Taking place September 11 – 13 at the Audi Driving Experience Center in Neuburg an der Donau (Bavaria), Germany, this year’s conference builds on the overwhelming success of its predecessors by gathering the leading global authorities in Automotive Audio for three days of in-depth examination of the latest trends, challenges and solutions in the field, plus exhibitions and demos showcasing the latest automotive audio technologies.
The Conference is chaired by Alfred Svobodnik, who leads the AES Automotive Audio Technical Committee. “This year’s program for the AES International Conference on Automotive Audio is set to cover all facets of creating outstanding sound in vehicles and to give our attendees first-hand knowledge and experience in what today’s systems are capable of achieving,” states Svobodnik. “Whether taking a look at new perspectives in the challenges of creating quality automotive sound, or offering new techniques in product development, or solving the challenges of designing the sound of electric vehicles, this conference is an essential event for automotive audio professionals who want to stay ahead of the pack.”
Daily keynote presentations will highlight key areas of interest, beginning with Wednesday’s keynote featuring Ivo Muth, Vice President User Experience/User Interface for Audi, on the topic “The Holistic User Experience.” “Audio Engineering in Today’s Automotive Industry: from Technical Performance to Sound Quality” is the topic of Thursday’s keynote, presented by Laurent Gagliadrini, DQI/DAPF/NVH (PSA Peugeot Citroën), and Thursday’s keynote, given by Dr.-Ing. Bernhard Grill, Director with focus on Audio and Media Technologies (Fraunhofer IIS), will expound on “Immersive Audio listening experience in Cars – the Future of Music.”
The conference will also present opportunities for attendees to get up to date on the latest in scientific research in automotive audio and related fields through technical papers, tutorials, workshops, and panel discussions being presented throughout the three days. Additionally, attendees will have an exciting opportunity take a critical listen to the Sound Demos on the road.
Online registration is currently available, which includes a lunch and coffee break on all three days, and shuttle service from “Enso hotel” in Ingolstadt and “Parkhotel” in Gaimersheim to the Audi Driving Experience Center. More information available at aes.org/conferences/2019/automotive.
Posted: Monday, August 19, 2019