AES New York 2007 Friday, October 5, 5:30 pm — 7:30 pm
Historical Event Details
H1 - A CELEBRATION OF HISTORY-MAKING NY STUDIOS
CELEBRATION OF HISTORY-MAKING NY STUDIOS: Dan Daley, prolific industry journalist, and contributor to WIRED, Fast Company and History Channel Magazine will moderate a panel featuring Quad Founder Lou Gonzales and original studio manager Laurel Gonzalez/Kerlew; studio architect, John Storyk; Blue Rock founder Eddie Korvin, studio manager Estelle Lazarus & engineer Jan Rathbun Horowitz; and Manhattan Center Chief Engineer Joel Schenuneman, and long term client, engineer Jimmy Douglass. Quad Studios (Madonna, Coldplay, Aerosmith, Tupac, LL Cool J, etc). and Manhattan Center (originally built by Oscar Hammerstein in 1906) are both celebrating 30th anniversaries this year. Blue Rock, was a highly regarded studio for over 16 years, racking up hits for The Kinks, Bob Dylan, and many other timeless artists. Artists, engineers, producers, and surprise guests will celebrate the glory days and the continuing legacy of these classic NY Studios.
Saturday, October 6, 5:00 pm — 7:00 pm
H2 - LEGENDS OF NASHVILLE SOUND/HISTORY OF NASHVILLE'S RECORDING STUDIOS
Wesley Bulla, Belmont University - Nashville, TN, USA
Cosette Collier, Middle Tennessee State University - Murfreesboro, TN, USA
Michael Janas, Belmont University - Nashville, TN, USA
The development of a recording industry in Nashville began in the 1940s with facilities in local radio stations like WSM and later with Castle Recording Studios in 1946. With the dominance of live programming from the Grand Ole Opry in country radio and the move by major labels such as Victor, Columbia, and Decca to Nashville, there was a real need for more professional recording studios.
In 1954 Owen and Harold Bradley moved their recording studio to 16th Avenue South to become the first business on what would become known as "Music Row." This studio, dubbed "the Quonset Hut," was originally designed for recording songs for film but quickly became part of traditional country recording history with timeless hits by Patsy Cline.
RCA Studio B, built in 1957, is the oldest recording studio in Nashville. Designed on a napkin by Chet Atkins and his engineer Bill Miltenburg, it was home to a string of hits from 1957 to 1977 with artists including Perry Como, Al Hirt, the Everly Brothers, Bobby
Goldsboro, the Monkees, Jerry Reed, Eddy Arnold, Willie Nelson, Charlie Pride, Dolly Parton, Roy Orbison, and Elvis.
Within these studio walls, engineers, musicians, producers, and artists created what will be forever known as "The Nashville Sound." This is their story, recounted by the people involved, including renowned recording engineer Bill Porter, producer Fred Foster, "A
Team" musicians Harold Bradley, Bob Moore, Boots Randolph, Lloyd Green, Charlie McCoy, and others. In April, 2006, the AES Nashville Section sponsored a "Legends in the Round" round-table discussion at the Country Music Hall of Fame with these illustrious participants, followed by an historic recreation at RCA Studio B of their recording
of the hits "Crazy" (Patsy Cline), "Please Help Me I'm Falling" (Hank Locklin), "Yackety Sax" (Boots Randolph), and "Today I Started Loving You Again" (Charlie McCoy). Videotape from these two events will be a major part of the presentation, along with how these two recording studios have been restored to their original condition for use as both museums and hands-on educational opportunities for music industry students.
Sunday, October 7, 9:30 am — 11:30 am
H3 - SURROUND SOUND: THE BEGINNING, 1925–1940
Robert Auld, Audio Engineer/Sound Designer and principal at Auldworks, NY-based recording facility will present a comprehensive assessment of the origin and early development of this still evolving medium. From the initial encouragement of famed conductor Leopold Stokowski to early work at Bell Labs and Disney Studios, the genesis of Surround Sound will be explored in a comprehensive multi-media presentation, which will include the first electrical recording of a symphony orchestra and surround sound excerpts from Fantasia."
[This is the first part of a two-part presentation. Part 2 continues as "Surround Sound—Quadraphonic Sound in the 1970s."]
Sunday, October 7, 2:00 pm — 4:00 pm
H4 - SURROUND SOUND: QUADRAPHONIC SOUND IN THE 1970S—RECORDING CLASSICAL MUSIC
Andrew Kazdin, Formerly Producer for Columbia Masterworks
Charles Repka, Formerly Engineer with Vanguard Records
Max Wilcox, Formerly Producer for RCA Red Seal
Starting in 1969, the record industry tried to introduce “the next big thing”—four-channel or “quadraphonic” sound for the home. The result was mass confusion as two tape formats and no less than five disc formats competed in the marketplace. In the middle of all this, producers and engineers did what they have always done—made the best
recordings they knew how to make for present and future playback systems.
Many of the veterans of the “quad wars” are still with us. This presentation will feature a distinguished panel of producers and engineers who will play excerpts from quad recordings of classical music that they helped make, and discuss the rise and fall of
[This is the second part of a two-part session. Part 1 is titled "Surround Sound—The Beginning 1925–1940.]
Sunday, October 7, 4:30 pm — 7:30 pm
H5 - CHAOS BEGETS ORDER: LIVE SOUND BECOMES AN INDUSTRY
John Chester, formerly Chief Sound Engineer Fillmore East
Roy Clair, Clair Brothers Audio
Dinky Dawson, Dawson Sound
Bill Hanley, Hanley Sound
Once upon a time music wasn't loud (or even electric!). There were no large touring sound systems.
Then came the 1960s, and sound systems struggled to keep up. Systems were touring— but they weren't designed for the road. Portable mixers existed, but not portable consoles. Multi-kilowatt amplifiers were unheard of. Somehow, lots of good music was still made. Sound engineers created, improvised, and invented—and laid the foundations for today's live sound industry.
Join us for stories and rare photos from people who were on the road (and in the workshop) in the 1960s and 70s. We'll present music history from the sound engineer's perspective.