AES Los Angeles 2014
Workshop Details
Thursday, October 9, 9:00 am — 10:00 am (Room 409 AB)
W0 - Microphone Arrays for Mobile Speech Applications
Panelists:Eddy B. Brixen, EBB-consult - Smorum, Denmark
J. Keith McElveen, Wave Sciences - Charleston, SC, USA
Abstract:
Microphone arrays are employed to spatially filter an acoustic scene to emphasize desired source directions—and, thereby, particular sources—and de-emphasize all others. Microphone arrays are currently being widely deployed in stationary applications, such as meeting rooms, but are just beginning to be deployed in mobile applications. An introduction to spatial filtering using microphone arrays in terms particularly relevant to mobile speech applications will be given. The theory of operation of both fixed and electronically-steerable arrays will be reviewed to serve as a foundation. From this foundation the practical design and user constraints of microphone arrays in mobile applications will then be addressed. The workshop will also be complemented with a variety of practical demonstrations of mobile microphone array implementations.
Thursday, October 9, 4:30 pm — 6:30 pm (Room 306 AB)
W1 - Loudness Wars: Give Peaks a Chance
Panelists:Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Thomas Lund, TC Electronic A/S - Risskov, Denmark
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada
Susan Rogers, Berklee College of Music - Boston, MA, USA
Abstract:
Music production, distribution, and consumption has been caught in a vicious spiral rendering two decades of our music heritage irreversibly damaged. Today, new tracks and remastered ones typically sound worse than what could even be expected from compact cassette. As a pro society, do we just sit by and let that happen on our watch?
With us to discuss the most important pro audio topic today are Susan, George and Bob—the finest from music auditory research, production, and mastering—while Florian and Thomas are at the helm of two European initiatives to also help reverse the vicious spiral: EBU R128 and EU legislation to prevent early hearing loss from listening to personal music players. Another glimpse of hope is iTunes Radio with loudness normalization on by default.
More reasonable distribution will not and should not prevent engineers from squashing music for artistic reasons, but it will take away any “advantage” of being louder. Learn to live with it!
Friday, October 10, 9:00 am — 10:30 am (Room 409 AB)
W2 - Audio Legal: Intellectual Property and Audio
Chair:Andrea Yankovsky, Kilpatrick, Townsend & Stockton LLP - New York, NY, USA
Panelists:
Scott Hull, Masterdisk - New York, NY, USA
Danny "Sage" McKinney, Requisite Audio - Ventura, CA, USA
James Trigg, Kilpatrick, Townsend & Stockton LLP - New York, NY, USA
Jason Vogel, Kilpatrick, Townsend & Stockton LLP - New York, NY, USA
Erik Zobler, ZOBIZ - Porter Ranch, Los Angeles, CA, USA
Abstract:
Working in a creative industry, our livelihoods are continually influenced by IP law. Protecting our creative assets is important, and yet the issues we encounter are becoming increasingly difficult to navigate without a solid knowledge base and expert input. Focusing on current developments and practical applications, this panel of legal and music industry experts will explore intellectual property issues and other legal matters affecting audio engineers, producers, studios, equipment makers.
Friday, October 10, 10:45 am — 12:15 pm (Room 409 AB)
W3 - Making the Transition from Student to Professional
Chair:Jonathan Wyner, Berklee College of Music - Boston, MA, USA; M Works Mastering
Panelists:
Adam Ayan, Gateway Mastering Studios - Portland, ME USA
Rob Jaczko, Berklee College of Music - Boston, MA, USA
John Krivit, New England Institute of Art - Brookline, MA, USA; Emerson College - Boston, MA, USA
Jay LeBoeuf, Real Industry - San Francisco, CA, USA; Stanford University - San Francisco, CA, USA
Henry Moyerman, Wild Woods Post Production - Los Angeles, CA, USA
Abstract:
There are many paths that lead to a fulfilling career as an audio engineer. This workshop will include tales from those who have successfully navigated a version of this path and suggestions of recommended approaches along with tools and skills worth acquiring to make the young engineer an attractive hire.
Friday, October 10, 2:00 pm — 3:30 pm (Room 408 B)
W4 - The End Is Near! The Pressing Need to Preserve Historic Analog Sound Recordings: An Overview of Strategies and Best Practices
Chair:Konrad Strauss, Indiana University - Bloomington, IN, USA
Panelists:
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada
Brad McCoy, Library of Congress - Culpeper, VA, USA
John Spencer, BMS Chace LLC - Nashville, TN, USA
Nadja Wallaszkovits, Phonogrammarchiv, Austrian Academy of Science - Vienna, Austria
Abstract:
The National Recording Preservation Plan, published in December 2012, identifies in excess of 46 million audio recordings held by the nation's libraries, archives, museums, record companies, and private collectors that are in need of preservation. The window of time to preserve these recordings is rapidly closing; some experts believe that we have as little as 15 years left. Archivists, librarians, engineers, and studio owners will encounter increased demand for preservation and digitization services in the coming years. This workshop, presented by the Association for Recorded Sound Collections http://www.arsc-audio.org, will focus on best practices for preserving and migrating analog audio recordings. Experts in the field will discuss strategies for extending the lifetime of the original media; building and equipping a studio for audio preservation; proper handling, cleaning, and restoration of original media; maintaining & optimizing playback machines; and building a digital infrastructure for preserving digital files.
Saturday, October 11, 2:00 pm — 3:30 pm (Room 409 AB)
W5 - How Are We Learning Mastering, Teaching Mastering—The Next Wave
Chair:Jonathan Wyner, Berklee College of Music - Boston, MA, USA; M Works Mastering
Panelists:
Eric Boulanger, The Mastering Lab - Ojai, CA, USA
Scott Hull, Masterdisk - New York, NY, USA
Mike Wells, Mike Wells Mastering - Los Angeles, CA, USA
Abstract:
Traditionally mastering has been learned by apprenticing. Now with the proliferation of educational resources and the evolution of affordable hi quality in-the-box processing, more people are practicing mastering in more places than ever before. Teaching a young engineer to become a top flight mastering engineer can be challenging. Have you wondered: What does 'Experienced Mastering Engineer' mean? What's the secret of mastering? In this workshop, seasoned mastering engineers and educators discuss how the craft is being taught and learned and how the next generation of mastering engineers will learn from their contemporaries. Topics will include what time tested practices remain essential and what is new in the discipline of mastering. Attendees of this workshop will walk away with a clearer understanding of what it takes to thrive in today's mastering market, how to assess internship/mentorship over 'going solo' early in a mastering career, and how to grow/build your mastering skills in today's market.
Saturday, October 11, 3:45 pm — 5:15 pm (Room 409 AB)
W6 - Finding a Good Acoustic Space
Chair:Mike Wells, Mike Wells Mastering - Los Angeles, CA, USA
Panelists:
Bob Hodas, Bob Hodas Acoustics - Berkeley, CA, USA
Steven Klein, Steven Klein's Sound Control Room, Inc. - Studio City, CA, USA
Ellis Sorkin, Studio Referral Service Inc. - Calabasas, CA, USA
Abstract:
New audio studios open often, and new people entering the market are always looking for qualified, usable studio space. But where should you start? Build your own room? Find an existing room to rent? Remodel an existing space? What issues should you be concerned with acoustically? How can you find out what available spaces are on the market? What is a "reasonable" rental price range for existing studio space? This workshop aims to address common questions such a these and also to empower the audience with useful information on the subject of finding great acoustical spaces to run an audio business.
Sunday, October 12, 9:00 am — 10:30 am (Room 408 A)
W7 - 21st Century Vinyl
Chair:Jonathan Wyner, Berklee College of Music - Boston, MA, USA; M Works Mastering
Panelists:
JJ Golden, Golden Mastering - Ventura, CA, USA
Robert Hadley, The Mastering Lab - CA, USA
Peter Lyman, Infrasonic Mastering - Los Angeles, CA, USA
Doug Sax, The Mastering Lab - Ojai, CA, USA
Abstract:
Vinyl—the cornerstone format of the music industry. Vinyl—despite the array of audio media formats that have come out since the LP, vinyl remains a vibrant format with a large (and growing!) fan base. Now that we find ourselves almost 15 years into the 21st century, how is the process of creating vinyl records changed? How is the equipment holding up after all these years? How hard is it to find media/supplies/parts for lathes still in use today? How has the approach to cuting vinyl masters changed (if at all) with the changes to delivered mixes (e.g., shrinking dynamic range, demands for longer side lengths, etc.)? This workshop will discuss the current state of the vinyl mastering industry, how it's adapting to the changing mix landscape, and thoughts on the future of vinyl.
Sunday, October 12, 11:15 am — 12:45 pm (Room 306 AB)
W8 - Analog Tape in a Digital World
Chair:Mike Wells, Mike Wells Mastering - Los Angeles, CA, USA
Panelists:
Charlie Bolois, Vertigo Recording Services - Los Angeles, CA, USA
Larry Crane, Tape Op Magazine - Portland, OR, USA; Jackpot! Recording Studio
Dan Labrie, ATR Services/ATR Magnetics - York, PA, USA
Abstract:
Despite 20+ years of digital recording advancements, recording to analog tape remains a hot topic in the world of audio engineering. Software modeling companies work hard to create the best emulations while hardware manufacturers pour over designs to also emulate the "magic" of the tape process, and yet "the real thing" remains a no-option for many artists and engineers still today. This workshop will discuss the current state of analog tape manufacturing, availability, and its usage in the recording, mixing, and mastering stages of the music production cycle.
AES Members can watch a video of this session for free.
Sunday, October 12, 12:00 pm — 1:30 pm (Room 409 AB)
W9 - Cancelled
Sunday, October 12, 1:00 pm — 2:30 pm (Room 306 AB)
W10 - DSD and DXD: Extreme Resolution Productions Discussed
Chair:Dominique Brulhart, Merging Technologies - Puidoux, Switzerland
Panelists:
Robert Friedrich
Morten Lindberg, 2L (Lindberg Lyd AS) - Oslo, Norway
John Newton, Soundmirror, Inc. - Jamaica Plain, MA, USA
Jared Sachs
Abstract:
With the growing interest in high resolution by the audiophile and general audience and the rapidly growing availability of high resolution content for download on the market, and in relation with the 137th AES convention HRA special event organized with the DEG, we thought mandatory to reiterate our DSD/DXD panel.
As the reality of most extreme resolution productions today is not anymore to ideologically focus on either DSD or PCM, but to choose the most appropriate format based on the production and post-production requirements, as it is been established during the three former workshops, we found more interesting to open this time the discussion to a wider number of panelists to share their experience in this domain, and base the comparison between DSD and DXD on production prerogatives instead of purely sound quality considerations.
Morten Lindberg from 2L, John Newton from Soundmirror, Michael Bishop from Five Four Productions, and Jared Sachs from Channel Classics will be presenting some of their productions and answer to questions about their technical and artistic decisions.
