AES San Francisco 2012
Live Sound Seminar Details
Friday, October 26, 10:30 am — 12:00 pm (Room 120)
LS1 - Power for Live EventsChair:
Kenneth Fause, Auerbach Pollock Friedlander - San Francisco, CA, USA
Steve Bush, Meyer Sound Labs, Inc. - Berkeley, CA USA
Marc Kellom, Crown Audio, Inc. - Granger, IN, USA
Randall Venerable, CEO Generators Unlimited, Inc.
A discussion of power for live events where the panelists will focus on practical considerations. Power for modern amplifiers – how much is really needed? Power factor of loads – real power, reactive power, why this matters. Non-linear loads and harmonics. High-quality audio systems co-existing with theatrical lighting, rigging, video, catering and cooling – Electromagnetic Compatibility in the real world. Safety and regulatory issues.
Friday, October 26, 2:00 pm — 3:30 pm (Room 120)
LS2 - Live Sound Engineering: The Juxtaposition of Art and ScienceChair:
Chuck Knowledge, Chucknology - San Francisco, CA, USA
In this presentation we examine the different disciplines required for modern live event production. The technical foundations of audio engineering are no longer enough to deliver the experiences demanded by today's concert goers. This session will discuss practical engineering challenges with consideration for the subjective nature of art and the desire of performing artists to push the technological envelope. Focal points will include:
• Transplanting studio production to the live arena.
• Computer-based solutions and infrastructure requirements.
• The symbiosis with lighting and video.
• New technologies for interactivity and audience engagement.
• New career paths made possible by innovation in these fields.
Attendees can expect insight to the delivery of recent high-profile live events, the relevant enabling technologies, and how to develop their own skill set to remain at the cutting edge.
Friday, October 26, 4:00 pm — 5:30 pm (Room 120)
LS3 - Practical Application of Audio Networking for Live SoundChair:
Kevin Kimmel, Yamaha Commercial Audio - Fullerton, CA, USA
Steve Seable, Yamaha Commercial Audio - Fullerton, CA, USA
Steve Smoot, Yamaha Commercial Audio - Fullerton, CA, USA
Kieran Walsh, Audinate Pty. Ltd. - Ultimo, NSW, Australia
This panel will focus on the use of several audio networking technologies, including A-Net, Dante, EtherSound, Cobranet, Optocore, Rocknet, and AVnu AVB and their deployment in live sound applications. Network panelists will be industry professionals who have experience working with various network formats.
Saturday, October 27, 10:15 am — 11:45 am (Room 120)
LS4 - Technical and Practical Considerations for Wireless Microphone System Designers and UsersChair:
Karl Winkler, Lectrosonics - Rio Rancho, NM, USA
Joe Ciaudelli, Sennheiser Electronic Corporation - Old Lyme, CT, USA
Gino Sigismondi, Shure, Inc. - Niles, IL, USA
Tom Turkington, CoachComm LLC - Auburn, AL, USA
Wireless microphone users and system designers encounter many of the same issues when setting up and using these systems, whether for house of worship, touring music, theater, corporate AV, or TV/video production. Channel counts from 1 to 24 are within the scope of this discussion. Topics will include RF Spectrum allocation, "safe haven" channels, TVBD database registration, frequency coordination, system design, transmitter and receiver antenna placement, and emerging wireless microphone technologies.
Saturday, October 27, 2:00 pm — 3:30 pm (Room 132)
LS5 - Planning a Live Sound Education: Should I Study the Theory, or Practice the Skills?Chair:
Ted Leamy, Promedia-Ultrasound
Kevin W. Becka, Conservatory of Recording Arts and Sciences/Mix Magazine - Gilbert, AZ, USA
Michael Jackson, Independent Live Sound Engineer - Richmond, CA, USA
David Scheirman, Harman Professional - Northridge, CA, USA
Getting the correct education to prepare for a career in live audio is a challenging proposition. Which is better—formal education or hands-on experience? The choices being marketed for "education" today seem endless. Manufacturer trainings, school programs, product user certifications, continuing "education" credits, CTS technician exams, smart training, stupid training, "learn to be a genius" seminars …. Who you gonna call? Is it better to just go on the road and "earn while you learn"? Join your peers and some industry veterans for a lively investigation of the options you face when learning about live sound career choices. Hear what works, and what doesn’t. Come and discuss your own experiences … good, bad, or otherwise. This will be an open discussion with all participants. Educators, students, business owners, engineers, and anyone involved in live sound should come and be heard at this unique session.
Saturday, October 27, 4:00 pm — 6:00 pm (Room 120)
LS6 - Wireless Frequency Wrangling at Large EventsChair:
Bob Green, Audio-Technica U.S., Inc.
Dave Bellamy, Soundtronics
Steve Caldwell, Norwest Productions - Loftus, NSW, Australia
Henry Cohen, Production Radio - White Plains, NY USA
Chris Dodds, The P.A. People - Rhodes NSW, Australia
Pete Erskine, Freelancer - Brooklyn, NY, USA
Jason Eskew, Professional Wireless Systems - Florida, USA
Larry Estrin, Clear-Com - Alameda, CA, USA; Audio Technica - Stow, OH, USA
This session will cover the overall approach to RF coordination, preparation, and setup for a large event. Topics that will be discussed will include microphones, in-ear monitoring, and production communications with specific focus on antenna systems, cabling, RF environment isolation, monitoring, verifying operation, and procedures.
The members of the panel will bring to the table their experience (national and international) in events as diverse as Olympic Games Ceremonies, Super Bowls, Presidential Debates, Grammy Awards, and Eurovision contests.
Sunday, October 28, 11:00 am — 12:30 pm (Room 130)
LS7 - The Women of Professional Concert SoundChair:
Terri Winston, Women's Audio Mission - San Francisco, CA, USA
Claudia Engelhart, FOH engineer for Bill Frisell, Herbie Hancock, Wayne Shorter
Deanne Franklin, FOH engineer for Tom Waits, David Byrne, Pink
Karrie Keyes, Monitor engineer for Pearl Jam, Red Hot Chili Peppers, Sonic Youth
Jeri Palumbo, Live Television production engineer, Super Bowl, The Oscars, Tonight Show w/Jay Leno
Michelle Sabolchick Pettinato, FOH engineer for Gwen Stefani, Jewel, Melissa Etheridge
This all-star panel of live sound engineers averages over 250 days a year mixing the biggest name acts in the business. Drawing from their experience running sound in arenas and large venues all over the world, these women will share their tips and tricks, from using EQ and learning the problematic frequencies of instruments to choosing the best outboard gear, and the systems typically used. This panel will explore what a day on a major world tour looks like, how to adjust to the acoustics of different venues, the difference between the positions of FOH and monitors, and how to successfully manage a life of constant touring.
Sunday, October 28, 2:30 pm — 4:30 pm (Room 120)
LS8 - Tuning a Loudspeaker InstallationChair:
Jamie Anderson, Rational Acoustics - Putnam, CT, USA
David Gunness, Fulcrum Acoustic - Sutton, MA, USA
Deward Timothy, Poll Sound - Salt Lake Cty, UT, USA
Loudspeaker systems are installed to achieve functional and aesthetic goals. Therefore, the act of tuning (aligning) those systems are the process of / attempt at achieving those aims. While often equated with simply the adjustment of a system’s drive EQ / DSP, loudspeaker system alignment truly encompasses the sum total of the series of decisions (or non-decisions) made throughout the design, installation, drive adjustment, and usage processes. This session gathers a panel of audio professionals with extensive experience in sound system alignment over a diverse variety of system types and applications to discuss their processes, priorities, and the critical elements that make their alignment goals achievable (or not). Given finite, and often extremely limited, resources (equipment, time, money, labor, space, access, authority) this session asks its panelists what is necessary to successfully tune a loudspeaker installation.
Sunday, October 28, 4:30 pm — 6:00 pm (Room 120)
LS9 - Acoustics for Small Live Sound Venues—Creating (& Fine Tuning) the Consummate Performing/Listening EnvironmentChair:
John Storyk, Walters-Storyk Design Group - Highland, NY, USA
John Storyk has designed acoustics for a number of live performance venues. These range from the Jazz at Lincoln Center Complex to the successful NYC club Le Poisson Rouge and to the Fenix Club, a brand new venue in San Rafael, which will be on the Tech Tour Schedule. John will give an illuminating presentation on improving acoustics in existing performance venues AND designing acoustics for new venues that would address potential absorption and reflection and other sound-related issues prior to construction. He also just completed the acoustics for a new NYC club called 54 Below (below the Studio 54 theater). Some VERY innovative acoustic solutions were developed for that venue.
Monday, October 29, 9:00 am — 10:30 am (Room 120)
LS10 - Live Sound for Corporate Events: It's Business TimeChair:
Michael (Bink) Knowles, Freelance Engineer - Oakland, CA, USA
Steve Ratcliff, Freelance Engineer
Scott Urie, Pinnacle Consulting Group
Corporate events demand audio perfection, even when the video screens and lighting plot take precedence over loudspeaker placement. Signal flow and mixing can be very complex, with distant parties and panel discussions creating feedback challenges. Mixing, routing, and arraying strategies will be discussed using example cases.
Monday, October 29, 11:00 am — 12:30 pm (Room 120)
LS11 - Audio DSP in Unreal-Time, Real-Time, and Live SettingsChair:
Robert Bristow-Johnson, audioImagination - Burlington, VT, USA
Kevin Gross, AVA Networks - Boulder, CO, USA
In audio DSP we generally worry about two problem areas: (1) the Algorithm: what we're trying to accomplish with the sound and the mathematics for doing it; and (2) Housekeeping: the "guzzintas" and the "guzzoutas," and other overhead. On the other hand is the audio processing (or synthesis) setting which might be divided into three classes: (1) Non-real-time processing of sound files; (2) Real-time processing of a stream of samples; (3) Live processing of audio. The latter is more restrictive than the former. We'll get a handle on defining what is real-time and what is not, what is live and what is not. What are the essential differences? We'll discuss how the setting affects how the algorithm and housekeeping might be done. And we'll look into some common techniques and less common tricks that might assist in getting non-real-time algorithms to act in a real-time context and to get *parts* of a non-live real-time algorithm to work in a live setting.
Monday, October 29, 2:00 pm — 4:00 pm (Room 120)
LS12 - The Art of Sound for Live Jazz PerformancesChair:
Mitch Grant, Sound Engineer for jazz events in the San Diego area
Nick Malgieri, Mixed the past several Monterey Jazz Festivals
A discussion of the sonic presentation of America's native musical art form in settings ranging from the smallest cafés and night clubs to the largest outdoor festivals. In particular the panelists will focus on how sound reinforcement for this musical form can differ from other genres.