AES New York 2007 Thursday, October 4, 9:00 am — 4:00 pm
Special Event Details
SURROUND LIVE 5: DELIVERING THE EXPERIENCE
Broad Street Ballroom, 41 Broad Street, New York, NY 10004
Once again the extremely popular Surround Live event returns to AES's 123rd Convention in New York City. Created and Produced by Frederick Ampel of Technology Visions with major support from the Sports Video Group, this marks the event's fifth consecutive workshop exclusively provided to the AES.
The day long special event will take place on Thursday, October 4, 2007 at the architecturally spectacular Broad Street Ballroom in downtown Manhattan, from 9AM until 4PM with lunch provided to registered attendees.
Using a specially calibrated Klein & Hummel Studio monitor system configured for expanded 5.1 playback, along with a DigiCo console, acoustic matrix processing from TiMax, and professional DVD playback hardware, Surround Live will be a stunning audio experience for all who attend. Major sponsorship for the event is provided by The Sports Video Group, Sennheiser USA, beyerdynamic, Neural Audio, DigiCo, and Harris Corporation.
The program is scheduled to include demonstrations and presentations from:
• Kurt Graffy of ARUP Acoustics - San Francisco - Keynote
• Fred Aldous - Fox Sports
• Tom Sahara - Turner Networks
• Michael Nunan - CTV Television
• Michael Pappas - KUVO Radio
• Jim Hilson - Dolby Laboratories
• Randy Conrod – Harris Corporation
• Neural Audio, beyerdynamic, and others to be announced.
New this year:
The Sports Video Group will sponsor and provide a special panel of experts, including Ron Scalise of ESPN, Bob Seidel and Bruce Goldfeder of CBS, and Jim Starzynskiof NBC, for an in-depth discussion "Surround Operational Issues-What Happens When It Leaves the Truck?" moderated by Ken Kerschbaumer of Sports Video Group.
8:15 AM – 8:55 AM REGISTRATION AND CONTINENTAL BREAKFAST
9:00 AM – EVENT INTRODUCTION - FREDERICK AMPEL
9:10AM ANDREW GOLDBERG – K&H SYSTEM OVERVIEW
9:20 AM - THE WHY AND HOW OF SURROUND KURT GRAFFY ARUP
9:50 AM - COFFEE BREAK
10:00AM – NEURAL AUDIO OVERVIEW
10:10 AM - FRED ALDOUS – FOX SPORTS
10:45 AM - JIM HILSON – DOLBY LABS
11:30 am – MIKE PAPPAS - KUVO RADIO
12:15-1:00 – LUNCH
1:00PM - TOM SAHARA – TURNER NETWORKS
1:40PM -2:40PM SPORTS VIDEO GROUP PANEL – KEN KIRSCHENBAUMER
2:45PM -3:00PM AFTERNOON BREAK
3:00PM - beyerdynamic - HEADZONE OVERVIEW
3:10PM - MIKE NUNAN CTV SPECIALTY TELEVISION – CANADA
4:00pm – Q&A – CLOSING REMARKS
Registration began in early August via the AES web site - click here to register or through links from ProSoundWeb (www.prosoundweb.com) and The Sports Video Group (www.sportsvideo.org/portal).
Space is limited to the first 200 who register. Previous Surround Live events have sold out quickly. Don't miss the Special Event of the Year at AES's 123rd Convention. Register Now!
Friday, October 5, 10:00 am — 12:00 pm
SPARS MENTORING SESSION
Karen Brinton, Remote Recording
Kevin Dillon, Five Star Productions
Maureen Droney, The Producers & Engineers Wing
Lee Foster, Electric Lady Studios
Jeff Greenberg, The Village Studios
Eric Johnson, Blazing Music & Sound
Leslie Ann Jones, Skywalker Sound
Mark McKenna, Allaire Studios
Scott Phillips, Blackbird Studios
Zoe Thrall, The Palms Studio
The Society of Professional Audio Recording Services (SPARS), a 28 year old nonprofit business education and networking organization, will be hosting this mentoring session that features an elite panel of studio owners, managers, and recording industry professionals who will explore strategies for adapting your business to changing times. Mentors will be available for one-on-one or group sessions to mentor and discuss innovative ways to handle unique challenges facing the successful operation of an audio production facility.
Friday, October 5, 12:00 pm — 1:30 pm
• Executive Director Roger Furness
• President Wieslaw Woszczyk
• Convention Chair Jim Anderson
• AES Awards Presentation
• Introduction of Keynote Speaker
• Keynote Address by Daniel Levitin, author of This Is Your Brain on Music, Laboratory for Musical Perception, Cognition, and Expertise, McGill University, Montreal, Quebec, Canada
Please join us as the AES presents special awards to those who have made outstanding contributions to the Society in such areas of research, scholarship, and publications, as well as other accomplishments that have contributed to the enhancement of our industry. The awardees are:
• David Bialik
• Francisco Miranda Kirchner
Board of Governors Award:
• John Strawn
• Graham Blyth
• Bob Ludwig
• Neil Muncy
• Phil Ramone
• Josef Zikovsky
Silver Medal Award:
• John Meyer
Read more about awardees.
Keynote Address by Daniel Levitin, author of "This is Your Brain on Music," Laboratory for Musical Perception, Cognition, and Expertise, McGill University, Montreal, Quebec, Canada
Dan Levitin's research in musical perception has raised many questions: By the age of 5 we are all musical experts. How is the brain able to do this? How does music affect our emotions? How does memory work? How do people with autism think and why, with ability in math, is there no musical aptitude? Tens of thousands of years ago, why did our ancestors first pick up instruments and begin to play? Does the brain experience a live performance differently from a recorded one? What is the true impact of powerful music on the human brain?
Friday, October 5, 2:00 pm — 3:30 pm
GEOFF EMERICK/SGT. PEPPER
Marking the 40th Anniversary of the release of Sgt. Pepper’s Lonely Hearts Club Band, Geoff Emerick, the Beatles engineer on the original recording was commissioned by the BBC to re-record the entire album on the original vintage equipment using contemporary musicians for a unique TV program.
Celebrating its own 60th Anniversary, the APRS is proud to present for a select AES audience, this unique project featuring recorded performances by young UK and US artists including the Kaiser Chiefs, The Fray, Travis, Razorlight, the Stereophonics, the Magic Numbers, and a few more — and one older Canadian, Bryan Adams.
These vibrant, fresh talents recorded the original arrangements and orchestrations of the Sgt. Pepper album using the original microphones, desks, and hard-learned techniques directed and mixed in mono by the Beatles own engineering maestro, Geoff Emerick.
Hear how it was done, how it should be done, and how many of the new artists want to do it in the future. Geoff will be available to answer a few questions about the recording of each track and, of course, more general questions regarding the recording processes and the innovative contribution he and other Abbey Road wizards made to the best ever album.
APRS, The Association of Professional Recording Services, promotes the highest standards of professionalism and quality within the audio industry. Its members are recording studios, postproduction houses, mastering, replication, pressing and duplicating facilities, and providers of education and training, as well as record producers, audio engineers, manufacturers, suppliers, and consultants. Its primary aim is to develop and maintain excellence at all levels within the UK's audio industry.
Friday, October 5, 5:00 pm — 6:00 pm
TECnology HALL OF FAME
The Mix Foundation for Excellence in Audio will present it's Fourth Annual TECnology Hall of Fame induction ceremony at Javits, hosted by the AES. The Foundation, presenters of the TEC Awards, established the TECnology Hall of Fame in 2004 to honor and recognize audio products and innovations that have made a significant contribution to the advancement of audio technology. For this year’s inductees, see www.
The ceremony will be conducted by George Petersen, executive editor Mix and director the TECnology Hall of Fame. It is being sponsored by the AMP Alliance at Microsoft, Disc Makers and the College of Recording Arts and Sciences.
Friday, October 5, 6:00 pm — 8:00 pm
A mixer party will be held on Friday evening to enable convention attendees to meet in a social atmosphere after the opening day’s activities to catch up with friends and colleagues from the industry. There will be a cash bar and snacks.
Friday, October 5, 8:00 pm — 9:30 pm
Brick Church, 62 E. 92nd St.
The first half of the concert will be all British music, including works by Parry, Stanford, and Matthias. The second half will be the whole of Widor's 5th Organ Symphony.
Graham Blyth's Organ Recital is sponsored by the Soundcraft Studer Group.
Saturday, October 6, 10:00 am — 11:30 am
The Platinum Producers Panel will feature such impeccably credentialed record makers as: Ed Cherney (Clapton, Bonnie Raitt, Jackson Browne, The Rolling Stones, Bob Dylan); Hal Willner (Lou Reed, Deborah Harry, Lucinda Williams); Jack Joseph Puig (Green Day, John Mayer, Black Crows, Verve Pipe) and a coterie of equally accomplished producers. They will explore the creative, technical, business, and career-management challenges producers face in today's rapidly evolving recording industry. The panel will be moderated by pro audio author and journalist Paul Verna, a veteran of Billboard and Mix magazines and co-author of The Encyclopedia of Record Producers.
Saturday, October 6, 11:30 am — 12:30 pm
LUNCHTIME KEYNOTE: CHARLES J. LIMB AND PATRICK J. DONNELLY
Introduction by Poppy Crum
The compositions of Ludwig van Beethoven are widely regarded as seminal masterpieces that changed not only the course of musical history, but also human history more broadly. The tremendous impact of his musical output is even more striking in the context of the composer's well-known hearing loss. Despite recent advances in medical understanding of hearing loss, however, the cause of Beethoven's hearing loss remains a mystery. This session will review Beethoven's musical compositions from the perspective of a musician with progressive hearing loss, and in the context of medical diagnoses based on modern otologic principles. Recent data, including studies of Beethoven's hair, will also be discussed as part of this investigative study of one of the great mysteries of classical music.
Saturday, October 6, 1:00 pm — 3:00 pm
19TH ANNUAL GRAMMY RECORDING SOUNDTABLE
The 19th Annual GRAMMY Recording SoundTable is presented by the National Academy of Recording Arts & Sciences Inc. (NARAS) and hosted by AES.
Good Times: The Enduring Legacy of NY’s Power Station Studios
Founded in 1977, New York's legendary Power Station Studios can claim the birth of landmark recordings by Aerosmith, the B-52s, Chic, Dire Straits, Duran Duran, Madonna, Iggy Pop, Roxy Music, Bruce Springsteen, John Lennon, and—The Power Station, among many, many others. Moderated by Studio at the Palms Director Zoe Thrall, this special event will feature the Power Station Studio’s lynchpin engineers and producers—and their music—including Bob Clearmountain, Jason Corsaro, Neil Dorfsman, James Farber and Nile Rodgers, along with studio owner and designer Tony Bongiovi*, delving into just what it was that created the scene, the sound—and especially, the music—that continues to inspire us today.
Saturday, October 6, 3:00 pm — 6:00 pm
LOW DELAY CODEC OPTIMIZED NETWORK MUSIC PERFORMANCE
New York University, 35 West 4th St. Room 303
This demonstration will show musicians playing together remotely, using the Internet as a connection between them. In our demonstration session we will establish a connection between New York University and McGill University and play jazz music as if the musicians were located in the same room. We will show a system that can even be used over home DSL or cable Internet connections.
Having musicians play together over the Internet presents several challenges in terms of low delay audio capture and transmission, time synchronization and bandwidth requirements. One of the main problems for this kind of low delay musical interaction is the network jitter, which leads to audio data packets that arrive too late for playback on the receiving side. Previous approaches used uncompressed audio for transmission. Our new approach is to use compressed audio, with a packet loss resilient version of our Ultra Low Delay audio coder, to accommodate lower bit rate connections and to reduce the network jitter by reducing the load on the network connection. For the network connection the Soundjack software will be used, which can be described as a low latency UDP streaming application.
Event is free to participants and buses will be provided to and from the venue. Seating is limited, however, and tickets will be required. They may be obtained at the AES Tours Desk.
Saturday, October 6, 7:00 pm — 8:00 pm
The Richard C. Heyser distinguished lecturer for the 123rd AES Convention is Leo Beranek.
Aspects Of Concert Hall Acoustics
Listening to music performances in approximately 200 venues, consulting with architects on a number of them and assembling measured acoustical data on a hundred of them, have given the speaker a broad base for understanding the relative importance of the various acoustical parameters that either are being measured or are proposed for the evaluation of acoustics of spaces for music. The acoustical parameters treated are: Apparent Source Width (ASW), Listener Envelopment (LEV), Lateral Fraction (LF), Interaural Cross-Correlation Coefficient (IACC), Reverberation Time (RT30), Early Decay Time (EDT), Initial-Time-Delay Gap (ITDG), Strength (G) (and various substrengths including early and late relative levels, and early and late lateral relative levels), Perceived Bass, Texture, Just Noticeable Differences, and Instrumentation. The extents to which these parameters are being met in halls of different architectural designs are presented. Finally, the relation of these parameters to living-room listening venues will be touched on.
Sunday, October 7, 11:30 am — 12:30 pm
LUNCHTIME KEYNOTE: BARRY BLESSER
Introduction by Alex Case
The Art of Space: Audio Engineers as Aural Architects
Regardless of their technical focus, audio and sound engineers also function as aural architects who shape a listener’s experience of the environment. Space and sound are inexorably linked because space changes our experience of sound, and sound changes our experience of space.
Aural architecture has its own language, which includes at least five dimensions of spatiality: aesthetic, symbolic, musical, navigational, and social. The language of spatiality exists in parallel with the language of physical acoustic and perceptual psychology. In addition, the experience of aural space need not be consistent with visual space.
While engineers try to answer questions using technical methods and tools, those answers depend on first having identified the relevant questions and assumptions. For example, although subjective preferences and perceptual experiences of spatial acoustics can sometimes be measured using scientific methods, the life style of sensory subcultures determines the cognitive and perceptual strategy of listeners, which is neither stable nor consistent. In any given cultural context, some spatiality dimensions may dominate others. This lack of consistency forces a sound engineer to also be a sonic artist and an aural architect.
Sunday, October 7, 1:00 pm — 2:30 pm
Bob Ludwig, Gateway Mastering & DVD - Portland, ME, USA
Brad Blackwood, Euphonic Mastering - Arlington, TN, USA
Greg Calbi, Sterling Sound - NY, USA
Gavin Lurssen, Lurssen Mastering - Hollywood, CA, USA
Paul Stubblebine, Stubblebine Mastering - San Francisco, CA, USA
Tim Young, Metropolis Mastering - London, UK
Level Wars and Other Mastering Issues in the Context of the New Record-Business Paradigm
Multi platinum and Grammy-winning mastering engineer Bob Ludwig of Gateway Mastering & DVD (Rolling Stones, Bruce Springsteen, The Police, Nirvana, Rush), will moderate an all star panel featuring Paul Stubblebine (Grateful Dead, Sly Stone, Journey, Santana); Greg Calbi of Sterling Sound (Norah Jones, Bowie, John Lennon, Paul Simon’s Graceland); Europe’s Tim Young (The Clash, The Smiths, Bjork, Van Morrison); Gavin Lurssen, Lurssen Mastering (Lucinda Williams, Matchbox 20, Alison Krauss and the Knocked Up soundtrack); and Brad Blackwood of Euphonic Mastering (Fuel, Sister Hazel, Lucero, Nine Days).
Mastering hot levels has been with us since the LP and 45 singles. It has gotten out of hand for CDs and downloads. We will discuss the issue from traditional and unorthodox perspectives and cover other topics that impact on the art and business of mastering. In addition to the opportunity to trade ideas, tips, and war stories with our peers, we look forward to a lively Q&A with the audience.
Sunday, October 7, 3:00 pm — 4:30 pm
The AES Platinum Engineers panel will feature a mix of veteran and up-and-coming engineers and mixers who have worked with some of the top artists in the business. Confirmed panelists include Bob Clearmountain, Kevin Killen, Tony Maserati, Ralph Sutton, Nick Sansano, John Horesco, Steve Rosenthal, and Young Guru, all of whom will share their insights on the recording process and their tips on how to navigate the challenges of today’s recording industry. The panel will be moderated by pro audio author and journalist Paul Verna, a veteran of Billboard and Mix magazines and co-author of The Encyclopedia of Record Producers.
Monday, October 8, 11:30 am — 12:30 pm
LUNCHTIME KEYNOTE: JOHN CHOWNING
Introduction by Agnieszka Roginska
FM Synthesis: 40 Years in Art and Industry
It was in 1957, 50 years ago, that Max Mathews at Bell Telephone Laboratories wrote the first sound synthesis program, Music I that he developed and released as Music IV in 1963. Running on mainframe computers at large institutions, the production of music was slow and costly. My naïve discovery in 1967 of frequency modulation synthesis—computationally efficient and having few but perceptually salient parameters—led to a rapid increase in music synthesized by computers, first by software synthesis, then by real-time hardware synthesis ten years later. In 1983, Yamaha’s DX7 coupled with the development of MIDI and computer music “hit the streets” resulting in the widespread use of computers in music that continues to this day.
There were many elegant technical and aesthetic contributions to the development of FM synthesis, by a number of people, many unknown to the public. The presentation will include sound-synchronous animations that demonstrate this development ranging from the first experiments from 40 years ago, the breakthrough in 1971, to my most recent composition, "Voices."
Monday, October 8, 12:00 pm — 1:30 pm
PLATINUM ROAD WARRIORS
Clive Young, Sr. Editor, Pro Sound News
The Platinum Road Warriors, moderated by Clive Young, Pro Sound News Sr. Editor and author of CRANK IT UP: Live Sound Secrets of the Top Tour Engineers, will offer insights from a freewheeling panel covering the latest trends, techniques, and tools that shape modern sound reinforcement.
Participating FOH engineers include: Robert Scovill, who has accrued over 3,000 live event mixing credits during the course of a 27-year career, where he has mixed the likes of Tom Petty & The Heartbreakers, Matchbox Twenty, Prince, Rush, and Def Leppard, among many others. He is a technical consultant and product endorser for such manufacturers as: Neumann, Audio Technica, Electrovoice, Servo Drive, and Alesis. He also serves as Market Manager for Live Sound Products for Digidesign. Scovill also operates his own Eldon's Boy Productions Inc. and MusiCanvas Recording Studio.
Brian Speiser began touring 10 years ago at the age of 20 when he began working for Long Island-based SK Sound. For the past eight years, he's worked as the front of house engineer for They Might Be Giants, and has mixed several live releases for the band as well as a live Direct TV concert filmed for Disney Records. Additionally, he has "done a short jail sentence as Ryan Adams' front of house engineer" and has handled FOH duties for The Indigo Girls on their tours around the world for the past two years.
Howard Page is director of engineering for Showco, a division of Clair Brothers Audio. Having spent decades in the live pro audio business, Page has mixed tours for acts as varied as Van Halen and Sade, but his biggest impact arguably may be his conception and development of Showco's Showconsole, one of the first digitally controlled analog live mixing desks—the sixth console he has designed and built over his career. A native of Australia, Page spent 17 years as a partner in Jans Concert Productions, before coming to America in 1989, where he has worked for Showco ever since.
These and other TBA FOH engineers will share war stories and field questions from the audience.