AES New York 2011
Special Event Details


Thursday, October 20, 1:00 pm — 2:15 pm (Room: 1E15/16)

Opening Ceremonies

This year’s Keynote Speaker is Charles Limb. An Associate Professor in the Department of Otolaryngology at the Johns Hopkins School of Medicine, Dr. Limb is a hearing specialist and saxophonist. His groundbreaking work on how the brain develops and assimilates musical creativity has been featured by NPR, PBS, National Geographic, Scientific American, the Smithsonian Institute, the New York Times, Library of Congress, and the American Museum of Natural History. A Faculty Member at the Peabody Conservatory of Music, Dr. Limb received his undergraduate degree at Harvard, his medical degree at Yale, and completed his surgical training at Johns Hopkins Hospital. His current research focuses on the neural basis of musical improvisation and the study of music perception in deaf individuals with cochlear implants. The title of his Keynote Address is "Sound, Hearing and Music: A Journey from the Ears to the Brain."

Thursday, October 20, 2:30 pm — 4:00 pm (Room: 1E15/16)

Phil Ramone/Tony Bennett

Tony Bennett: Duets II

Producer Phil Ramone, co-producer and engineer Dae Bennett, and singer Tony Bennett will discuss the production of their new album, Tony Bennett: Duets II. Duets II features Mr. Bennett in duet with Norah Jones, Carrie Underwood, Andrea Bocelli, Amy Winehouse, Mariah Carey, Natalie Cole, Sheryl Crow, Josh Groban, Faith Hill, John Mayer, Willie Nelson, Alejandro Sanz, Michael Bublé, K.D. Lang, and Lady Gaga.

Friday, October 21, 9:00 am — 10:30 am (Room: 1E15/16)

Yesterday, Today, and Forever: The Art and Science Behind the Motown and Verve Catalog Reissues

Kevin Reeves
Andy Skurow
Harry Weinger

The panel will discuss: What is catalog, and how are reissues conceptualized? The vault system: What is the process of finding the assets? And talk about how the technical engineering brings all the elements together for the final package.

Friday, October 21, 10:30 am — 11:30 am (Room: 1E15/16)

Bohemian: A Conversation with Judy Collins

It was once said that "if amethysts could sing, they would sound like Judy Collins." Indeed, Judy Collins has been a folk and pop music icon and a powerful influence on several generations of musicians and listeners. Her ethereal performances and top-selling recordings of songs like "Both Sides Now" and "Send in the Clowns" ultimately helped make songwriters like Joni Mitchell, Leonard Cohen, and Stephen Sondheim become household names. Now in the fifth decade of her career, Judy is about to release Bohemian, her new album on the heels of her critically acclaimed 2009 release Paradise. Judy chats with Jason King, the Artistic Director of NYU's Clive Davis Institute of Recorded Music, about her life, career, and the making of the new album. Clips will be played from the as yet unreleased new CD.

Friday, October 21, 11:45 am — 1:45 pm (Room: 1E15/16)

Platinum Producers

David Weiss, SonicScoop Co-founder
Steve Jordan
David Kahne
Gabe Roth

The Producer's Portfolio

Everyone agrees the artist hires the producer to serve the band or singer/songwriter and their music. This panel, however, will address the producer’s personal artistic visions, and the growing bodies of work their creative philosophies pilot into reality. Considered a creative artistic force in their own right, each of these producers collaborates fully with their clients both in pre-production and the studio. Participants will explore the artistic sensibilities they’ve nurtured, how they’ve expressed themselves in their work, and how that self-assurance and unique perspective has enabled their careers to flourish.

Friday, October 21, 2:30 pm — 4:15 pm (Room: 1E15/16)

Ben Folds

The Best Imitation of Myself

International recording star Ben Folds discusses his career, influences, and the music business, as well as his new retrospective, Best Imitation of Myself, with Errol Kolosine, followed by a Q & A with attendees. We'll examine his time with The Ben Folds Five, as a solo artist, and also as a collaborator.

Friday, October 21, 4:30 pm — 6:30 pm (Room: 1E15/16)

Platinum Mastering

Bob Ludwig, Gateway Mastering & DVD
Adam Ayan, Gateway Mastering Studios
Eric Boulanger, The Mastering Lab
Chris Gehringer, Sterling Sound
Scott Hull, Masterdisk Studios
Barak Moffitt, EVP EMI Label Group
Darcy Proper, Wisseloord Studios

You Have Questions, We Have Answers

Panelists Adam Ayan, Gateway Mastering Studios (Nirvana, Foo Fighters, Nine Inch Nails); Eric Boulanger, The Mastering Lab, Chris Gehringer, Sterling Sound, NYC (Lady Gaga, Nelly, Cee Lo Green); Scott Hull, Masterdisk, NYC (Sting, Lou Reed, Miles Davis); Darcy Proper, Wisseloord Studios, The Netherlands (Eric Clapton, Steely Dan); and Barak Moffitt, EVP EMI Label Group (Capitol Studios), will provide the record label perspective on today’s mastering process.  The panel will address the latest trends and techniques in mastering; the state of the record industry; the de-evolution of the opportunity for learning through apprenticeship and most importantly take a lot of questions from the audience.

Friday, October 21, 7:00 pm — 9:00 pm (Room: 1E15/16)

Heyser Lecture
followed by
Technical Council

The Richard C. Heyser distinguished lecturer for the 131st AES Convention is John Atkinson. Atkinson’s formal education was in the sciences—he graduated from the University of London in 1972 with an honors degree in physics and chemistry, and from the University of London’s School of Education in 1974 with a postgraduate qualification in the teaching of high-school science—but his passion was always for music. A musician (primarily on bass guitar, but also on recorder, clarinet, violin, and viola da gamba), a sound recordist, and an audiophile, Atkinson pursued all three areas simultaneously in the 1960s and ’70s, before finally settling down in magazine publishing in 1976, when he joined the UK’s Hi-Fi News & Record Review as an editorial assistant. He became HFN/RR’s editor in 1982, and had almost doubled its circulation by 1986, when he moved to the US to become editor of Stereophile, the position he still occupies. Atkinson expanded Stereophile’s publishing schedule to monthly, and by 1998, when he and his business partner sold the magazine to Petersen Publications, had tripled its circulation. Starting in 1989, Atkinson introduced a program of measuring the components reviewed in Stereophile, and since then has measured 750 loudspeakers, 500 amplifiers of all kinds, and almost 300 digital products, all under standardized conditions. He has also continued his recording activities, and to date has produced, engineered, edited, mastered, and/or performed on more than 40 commercially released recordings. Atkinson has been a member of the AES since 1981; a committed generalist, he is very likely the only audio magazine editor who has also panned for gold and made his own transistors. The title of his lecture is, “Where Did the Negative Frequencies Go?”

The title of his lecture is a metaphor: All real numbers have two roots, yet we routinely discard the negative root on the grounds that it has no significance in reality. When it comes to understanding the perception of music, perhaps some of the things we discard as audio engineers merit further examination. This lecture will cover both audio recording and playback technologies; while it might not offer definitive answers, perhaps it will raise some interesting questions.

Saturday, October 22, 9:00 am — 10:45 am (Room: 1E15/16)

Grateful Dead Europe 72

Sam Berkow
David Glasser, Mastering Engineer
Jamie Howarth, Tape Transfers and Plangent Processes Speed Correction
Gary Lambert
Jeffrey Norman, Mixer

In the spring of 1972, the Grateful Dead toured Europe with a new (and modified) Ampex MM1100 tape recorder in tow. The tour, and subsequent LP release, find the Dead at one their creative peaks. In September 2011 Rhino Records will release a massive CD box set containing every note recorded on this 22-show tour —over 70 hours of music on 73 discs, surely one of the most ambitious rock and roll box sets to date. This Workshop will bring together the production and engineering team who have been working on restoring, mixing, and mastering this historic music. Musical excerpts from the project will be presented, and the project workflow and creative challenges will be discussed.

Saturday, October 22, 9:30 am — 10:30 am (Room: 1E13)

SPARS: Lessons from Savvy Owners

Kirk Imamura
Stephen Joseph Antonelli, PopMark Media
Kevin Hill, PopMark Media
Lisa Horan, PopMark Media
Chris Mara, Welcome to 1979
Dan Workman, SugarHill Studios

Hosted by SPARS, examples of recording studios that are expanding their business beyond traditional recording will be presented in a panel discussion format. There will be panelists representing three recording businesses, each with a unique business angle/strategy. The panel discussion is intended for audio engineers who are currently running a recording business looking for ideas to expand their business, people who are considering starting a recording business, or those who are interested in what new services recording businesses are offering now.

Saturday, October 22, 11:00 am — 1:00 pm (Room: 1E15/16)

Platinum Engineers

Janice Brown, SonicScoop Co-founder
Justin Colletti, Engineer/Producer/Journalist
Dave Fridmann, (The Flaming Lips, MGMT, Neon Indian)
Peter Katis, (The National, Jónsi, Interpol)
Chris Shaw, (Bob Dylan, Public Enemy, Weezer)
Damian Taylor, (Bjork, The Prodigy)

Creative Engineering—The Studio as an Instrument

Engineers of a particularly creative breed, these multi-faceted audio gurus reflect a singular studio fluency that has inspired and produced some of today’s most sonically expressive, adventurous, and influential recordings. Typically recording, mixing and co-producing entire albums, these craftsman often collaborate with artists whose distinct POVs come across not only in the songwriting and playing, but also in the sound of their records. Though they may program, play and/or produce on their projects, these panelists are engineers first, with the skill set to truly play the studio as an instrument. Participants will discuss the creative recording and mixing techniques they’ve developed, playing samples of their work to illustrate some of the most successful collaborations.

Saturday, October 22, 1:00 pm — 1:45 pm (Room: 1E12)

Career and Business Development Mentoring with the Manhattan Producers Alliance

Bring your energy, enthusiasm, business ideas and questions. At this event the focus is on YOU!

Succeeding in music today is, more than ever, challenging. Members of the Manhattan Producers Alliance will give a brief talk about developing your brand and your business, and functioning as a creative talent in an ever-changing music business. Take this unique opportunity to meet some ManhatPro members and spend some time learning some tips and tricks for business development. You’ll participate in our open discussions, discuss your personal career goals one on one, and get a chance to meet some ManhatPro members.

Saturday, October 22, 2:30 pm — 4:00 pm (Room: 1E15/16)

Grammy SoundTable

Chris Lord-Alge
Ken "Duro" Ifill
Steve Lillywhite
Ann Mincieli
Phil Ramone
Al Schmitt

Sonic Imprints: Songs That Changed My Life—Part 2

Some songs are hits, some we just love, and some have changed our lives. Our panelists break down the DNA of their favorite tracks and explain what moved them, what grabbed them, and why these songs left a life-long impression. Back by popular demand, this reprise is a New York-centric version of the GRAMMY SoundTable presented in San Francisco during the 129th Convention and is guaranteed to make you feel good about being in the recording business.

Saturday, October 22, 4:30 pm — 6:30 pm (Room: 1E15/16)

Legends of Nashville Sound

Cosette Collier
Wes Bulla, Belmont University
Jim Kaiser
Mike Poston, Audio Services Group
Bil VornDik, Producer/Engineer

The Nashville section of AES present a continuation of their previous presentation, LEGENDS OF NASHVILLE SOUND/HISTORY OF NASHVILLE'S RECORDING STUDIOS. This latest installment features the engineers, producers, and studio musicians responsible for the “Nashville Sound.” The Nashville studio eras that will be featured are “The RCA Years” (beginning early 50s), “The Monument Studio Years” (beginning early 60s), “The Woodland Years” (beginning mid to late 60s), and “The Jack ‘Cowboy’ Clement Years” (beginning early 70s).

Saturday, October 22, 8:00 pm — 9:30 pm

Organ Concert

Central Synagogue
652 Lexington Avenue at 55th Street
New York

Organist Graham Blyth's concerts are a highlight of every AES convention at which he performs. This year’s recital will be held at Central Synagogue. He will play Fantasia & Fugue in G minor by J.S. Bach; “Come, Sweet Death” by J. S. Bach arr. Virgil Fox; Tuba Tune by Norman Cocker; Prelude, Fugue & Variation by Cesar Franck; and Sonata No. 1 in D minor by Alexandre Guilmant.
Constructed by the renowned firm of Casavant Frères of St. Hyacinthe, Canada and completed in 2002, the Gabe M. Wiener Memorial Organ consists of two distinct, interconnected instruments: a Bimah Organ (Casavant Opus 3812) located on both sides of the bimah and used primarily during services to accompany the cantor, choir, and congregation; and a larger Gallery Organ (Casavant Opus 3813) located in the elevated rear gallery and used both for services and concerts. It contains two consoles and 4,345 pipes, 55 stops, and 74 ranks, located in the front and back of the sanctuary. The Bimah Organ, with Choeur, Echo, and Pédale divisions (groups of pipes) was installed and voiced in July 2001, in time for the rededication of the sanctuary on September 9, 2001. The Gallery Organ, with Grand Orgue, Récit, Positif, Solo, and Pédale divisions, was installed and voiced in March 2002. Both coordinate in style and materials with the design of the restored sanctuary. The entire instrument was dedicated at a concert on April 10, 2002, by concert organist David Higgs and the Orpheus Chamber Orchestra. Both organs can be played from separate movable consoles: the Bimah console, which has three keyboards, and a Gallery console that has four. Either can control the entire organ. The Bimah console is equipped with 40 pistons, 31 couplers, and 30 toe studs. The Gallery console is equipped with 80 pistons, 24 couplers, and 34 toe studs. Both consoles have solid-state combination systems with 128 levels of memory, MIDI connections, transposers, and many other amenities. The organ contains two very special stops created specifically for Central Synagogue: a Trompette Shofar, that replicates the sound of the traditional shofar, used for services on Rosh Hashanah and Yom Kippur; and a Klezmer Clarinette, that reproduces the sound of a klezmer clarinet with great brilliance and clarity, believed to be the first such organ stop in the world. Both are used to enrich the accompaniment of contemporary anthems and liturgical music. The instrument also contains a rich array of other reed registers, including a Trompette-de-Fête that can sound out over the entire organ, and a 32-foot Contre-Bombarde in the pedal division that provides floor-shaking bass to the full ensemble. The organ was designed by Pierre Dionne, President of Casavant Frères, and Jacquelin Rochette, Associate Tonal Director, in conjunction with George B. Stauffer and Shelly Palmer, who served as organ consultants for Central Synagogue. It is the product of three years of planning and a cumulative total of 21,000 work-hours by Casavant's artisans and musicians.

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