AES New York 2015
Recording & Mastering Track Event Details
Thursday, October 29, 9:30 am — 10:30 am (Room 1A21)
Game Audio: G1 - Reinventing the Sound for Call of Duty: Advanced Warfare
Presenter:David Swenson, Sledgehammer Games - Activision
Abstract:
How do you go about reinventing the audio experience for a well-established game like Call of Duty? How do you make the audio sound fresh, next-gen and “Advanced” in the 11th installment of a franchise? The answers to these questions may surprise you. Learn how Sledgehammer Games employed some unorthodox methods to create an all new sound for Call of Duty.
Thursday, October 29, 10:45 am — 12:45 pm (Room 1A21)
Workshop: W2 - Mixing Music
Chair:Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Panelists:
Buford Jones, Meyer Sound - Berekley, CA
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Shawn Murphy, Recording and Live Sound Engineer - Berkeley, CA, USA
Abstract:
Panel discussion and presentations from award-winning expert practitioners in the industry, describing the process of mixing, actual techniques used, and proven methodologies that have yielded successful results over the years. Focus will remain on real information as opposed to anecdotes, such as different ways to approach a mix, how to improve an existing mix, how to best interpret and address mix comments from an artist or a client, or the record label (it happens). A large portion of time will be left open for questions, so that the audience will have the chance to solicit specific and meaningful information from the panelists.
Thursday, October 29, 2:15 pm — 4:15 pm (Room 1A23/24)
Special Event: Platinum Latin Producers & Engineers
Moderator:Andres A. Mayo, Andres Mayo Mastering & Audio Post - Buenos Aires, Argentina
Panelists:
Carli Beguerie, Blue Note Entertainment Group - New York, NY, USA; S.I.R - New York, NY, USA
Andres Landinez, Independent - Bogota, Colombia; Estudios Audiovision - Escuela de Musica y Audio Fernando Sor
Ari Lavigna, Nomade Mix - Buenos Aires, Argentina
Valeria Palomino, Free Lance - Coyoacán, Ciudad de México, Mexico
Salvador Tercero, Sala de Audio - México City, Mexico; Centro de Educación Tecnológica y Arte
Stefano Vieni, KIVA Music Inc. - Woodland Hills, CA, USA
Abstract:
The Audio Engineering Society brings together the top-notch music producers and engineers from the Latin scene. Multiple Grammy-winning pros will discuss the current status of the industry and will open the debate for Q&A´s from the audience.
Thursday, October 29, 4:00 pm — 5:30 pm (Room 1A21)
Workshop: W4 - Interaction and Evolution of Recording Classical Music thru the Eyes of Grammy Award Winning Producers
Chair:David Merrill, DMMUSIUC, Inc - Brooklyn, NY, USA
Panelists:
Steve Epstein
David Frost
Tom Shepard
Judy Sherman
Abstract:
Grammy Award winning classical music producers discussing the interaction and observations they have had with technology through the decades.
Thursday, October 29, 5:00 pm — 6:30 pm (Room 1A06)
Tutorial: T7 - Keep it "Reel": The Ultimate Ultra-Portable Production/Recording Studio—From Idea to Final Master: How to Write, Sequence, Record, and Produce Your Music Using Only Your iPad
Presenter:Andrea Pejrolo, Berklee College of Music - Boston, MA, USA
Abstract:
In this highly interactive and hands on presentation you will learn the tools, techniques, tips, and tricks required to write, produce, and mix a song using only your iPad.
Through practical examples and scenarios you will learn how to: • Pick the best software for sequencing, producing and mixing your music • Pick the best iPad-compatible hardware tools (microphones, audio interface, MIDI interfaces, controller etc.) • Setup your mobile production/recording studio • Sketch your musical ideas • Use your iPad as a creative inspirational tool for music composition and sound design • Sequence and arrange your music ideas on your iPad • Use your iPad as a powerful virtual mixing console • Add audio plug-ins • Master your final mix.
Who should attend? Anyone who wants to create some great music with their iPads, from beginners to advanced. Attendees will learn: • How to assemble the ultimate ultra-portable multi-track recording rig • How to create a complete final production of a song using only the iPad • How to pick the right hardware and software available for mobile music production on the iPad • How to take advantage of the highly interactive interface of the iPad to streamline and enhance your creative process • How to share and interact with other music creators using solely the iPad and the cloud.
Friday, October 30, 9:00 am — 10:45 am (Room 1A21)
Tutorial: T11 - Main Microphone Techniques for 2.0 and 5.1
Presenter:Helmut Wittek, SCHOEPS GmbH - Karlsruhe, Germany
Abstract:
This tutorial will explain step-by-step, using many practical examples, what a suitable stereophonic microphone array can look like. With 2.0 stereo setups as the starting point, multichannel setups will also be introduced.
Many factors influence the choice of a stereophonic microphone setup, but the relevance of these factors can vary greatly depending on the application, such that there is never one single “correct” setup. Knowledge of various options gives a Tonmeister the ability to make optimal choices.
In this session the free iPhone App "Image Assistant" will be presented. It calculates the spatial characteristics of arbitrary stereophonic microphone arrays and auralizes the result. Moreover, the educational website "hauptmikrofon.de" is presented offering various comparative sound samples on the subject.
Friday, October 30, 9:15 am — 10:45 am (Room 1A23/24)
Special Event: Platinum Producers—Bad Vibrations
Moderator:Errol Kolisine
Panelists:
Joel Hamilton, Blakroc, Pretty Lights, Tom Waits, Iggy Pop, Elvis Costello, Unsane, Giraffes, Bomba Estereo, Jolie Holland, Matisyahu, Sparklehorse, Marc Ribot, Puss
Nick Sansano, New York University - New York, NY, USA
Hank Shocklee
Abstract:
We all spend plenty of time discussing the tangible technical elements of making a great record, but what about certain more etherial challenges? Our panel of world class producers discuss some of the worst distractions, impediments and energy vampires - and how to combat them.
Friday, October 30, 10:45 am — 12:45 pm (Room 1A06)
Workshop: W7 - The X-Factor in Audio
Chair:Darcy Proper, Darcy Proper Mastering - Eemnes, The Netherlands; Wisseloord Studios - Hilversum, The Netherlands
Panelists:
Cynthia Daniels, Recording Engineer/Producer, Monk Music Studios - East Hampton, NY USA
Leslie Ann Jones, Recording Engineer and Producer, Director of Music Recording and Scoring, Skywalker Sound - San Rafael, CA, USA
Piper Payne, Coast Mastering - San Francisco Bay Area, CA
Michelle Sabolchick Pettinato, Independant Live Sound Engineer - Scranton, PA, USA; FOH Engineer STYX
Ulrike Schwarz, Tonmeister/MBA Anderson Audio (formerly at Bayerischer Rundfunk, Germany) - München, Germany
Leanne Ungar, Berklee College of Music - West Newton, MA, USA
Abstract:
“The X-Factor in Audio”: What does it take for an engineer to rise to the top of his/her profession? What is the “magic” that makes a session special (and productive) for all involved? What elements combine to elevate a live concert from “a nice night out” to “a show we’ll never forget”?
No, Simon Cowell will not be making an appearance here. Instead, this workshop will feature a remarkable group of audio engineers, outstanding in their respective fields—live sound, recording, mixing, and mastering—for a wide variety of musical genres including classical, pop/rock/r&b, film, Broadway, and television.
These engineers have worked with an impressive list of artists, including: Herbie Hancock, Michel Feinstein, Nile Rodgers, Leonard Cohen, Laurie Anderson, “The Producers” cast, Mumford & Sons, Florence & The Machine, Sir Simon Rattle, Yo Yo Ma, Donald Fagen, Marcus Miller, Gwen Stefani, The Goo Goo Dolls, and dozens more.
Join these award-winning panelists as they share their life-long adventures in audio and share their tips and tricks for surviving in this challenging industry, told from their unique perspective as women in a male-dominated profession.
Friday, October 30, 11:00 am — 12:30 pm (Room 1A23/24)
Recording & Mastering: RM1 - Master Class with John Congleton - Recording St. Vincent, Swans and Modest Mouse
Moderator:Mike Tierney, Mike Tierney Music, LLC - New York, NY, USA
Presenter:
John Congleton, St. Vincent, David Byrne, Clap Your Hands Say Yeah, Modest Mouse, The Walkmen, Erykah Badu, R. Kelly, Nelly Furtado, Franz Ferdinand, Swans, Sigur Ros
Abstract:
Crafting a Modern Indie Record
Producer/engineer/musician John Congleton is a highly versatile sonic artist, having worked with a diverse profile of musicians including St. Vincent, David Byrne, Angel Olsen, Swans, Franz Ferdinand, The Mountain Goats, Modest Mouse, Sigur Ros, The New Pornographers, and Explosions in the Sky. His recent work with St. Vincent, on her critically acclaimed self-titled album, garnered his first Grammy for Best Alternative Music Album. In this masterclass, Mr. Congleton will discuss his career, methods, and experiences in producing some of the most iconic indie rock albums of the day. He will use a selection of musical examples to demonstrate what it means to be on the cutting edge of the indie music scene.
Friday, October 30, 1:30 pm — 3:00 pm (Room 1A23/24)
Special Event: Platinum Engineers
Moderator:Justin Colletti, SonicScoop - Brooklyn, NY, USA; Trust Me, I'm a Scientist
Panelists:
Joe Chiccarelli, U2, Beck, The Killers, My Morning Jacket, Minus the Bear, Counting Crows, The Shins, Elton John, Rufus Wainright,Tori Amos, The Strokes, Morrissey, Ca
John Congleton, St. Vincent, David Byrne, Clap Your Hands Say Yeah, Modest Mouse, The Walkmen, Erykah Badu, R. Kelly, Nelly Furtado, Franz Ferdinand, Swans, Sigur Ros
Chris Godbey, Timbaland, Jay-Z, Drake, Justin Timberlake, Michael Jackson, Rick Ross, Beyoncé, Chris Cornell, Robin Thicke
Chris Zane, Passion Pit, St Lucia, Friendly Fires, The Walkmen - New York, NY, USA
Abstract:
The Platinum Engineers Panel, hosted by Justin Colletti of SonicScoop and Joe Lambert Mastering, gathers top engineers for a discussion about ideas and techniques in contemporary record making. Each of the engineers selected is a multi-talented collaborator on major music projects, able to wield the studio as an instrument to the creative advantage of each recording. Guests panelists play excerpts from their work, discuss their approach in detail, and answer questions from the audience.
Friday, October 30, 2:00 pm — 4:30 pm (Room 1A07)
Paper Session: P10 - Recording & Production
Chair:
Grzegorz Sikora, Harman - Pullach, Germany
P10-1 Lossless Audio Checker: A Software for the Detection of Upscaling, Upsampling, and Transcoding in Lossless Musical Tracks—Julien Lacroix, Independent Developer - Aix-en-Provence, France; Yann Prime, Independent Developer - Aix-en-Provence, France; Alexandre Remy, Independent Developer - Aix-en-Provence, France; Olivier Derrien, University of Toulon / CNRS-LMA - Toulon, France
Internet music dealers currently sell “CD quality” tracks, or even better (“Studio Master”), thanks to lossless audio coding formats (FLAC, ALAC). However, a lossless format does not guarantee that the audio content is what it seems to be. The audio signal may have been upscaled (increasing the resolution), upsampled (increasing the sample rate), or even transcoded from a lossy to a lossless format. In this paper we describe a new software that analyzes lossless audio tracks and detects upsampling, upscaling, and transcoding (only for AAC in this early version). Validation tests over a large music database (with groundtruth available) show that this method is fast and accurate: 100% of success for upscaling and transcoding, 91.3% for upsampling.
Convention Paper 9416 (Purchase now)
P10-2 Comparison of Audio Signals Obtained with Source Overlay (OAS) and Other Conventional Recording Methods—Juliette Olivella, Universidad de San Buenaventura - Bogotá, Colombia; K2 INGENIERIA; William Romo, Universidad de San Buenaventura - Bogotá, Colombia; Dario Páez, Universidad de San Buenaventura - Bogotá, Colombia
Overlay Model of Acoustic Sources (OAS) is an unconventional recording method with a stereo microphone array. This model was proposed as a methodological alternative that allows emulating a recording single-take of a musical group. It is based on the presumption of a linear behavior in a recording system and involves doing partial captures of musical instruments that integrate the entire assembly. Experimental tests were done to corroborate the system's linearity; two speakers are used instead of musicians and audio is recorded with conventional techniques and model of Overlay of Acoustic Sources. The audios were discretized using MATLAB in order to evaluate their physical parameters and the correlation coefficients between energy, maximum values, minimum values, frequency response, the zero crossings rate, and spatiality of recordings. All the research sought to answer the question if it is possible to get an audio signal able to imitate the signal characteristics captured in real time in a recording by takes. The results showed that it is possible when the recording is performed with the method of overlay of acoustic sources (OAS).
Convention Paper 9417 (Purchase now)
P10-3 Process Improvement in Audio Production from a Sociotechnical Systems Perspective—Gerhard Roux, Stellenbosch University - Stellenbosch, Western Cape, South Africa
Audio professionals involved in live sound reinforcement, record production, and broadcasting are continuously solving complex problems in creative ways. It is wasteful if the pragmatic methodologies used in solving these problems do not contribute towards a reusable model of process improvement. This paper suggests a systems-level engagement with audio production that strikes a balance between human creativity and technological infrastructure. A conceptual model of process improvement is developed through analysis of audio production as a complex system and subsequently implemented through an action research methodology in multiple case studies. The study found that significant quality improvements in audio production could be attained through a sociotechnical systems approach. The results imply that the application of process improvement methodologies can coexist with creative social practice, resulting in improved technical performance of production systems.
Convention Paper 9418 (Purchase now)
P10-4 Listener Preference for Height Channel Microphone Polar Patterns in Three-Dimensional Recording—Will Howie, McGill University - Montreal, QC, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada; Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada; Matthew Boerum, McGill University - Montreal, QC, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT); David Benson, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada; Alan Joosoo Han, McGill University - Montreal, QC, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
A listening experiment was conducted to determine if a preference exists among three microphone polar patterns when recording height channels for three-dimensional music production. Seven-channel 3D recordings of four different musical instruments were made using five-channel surround microphone arrays, augmented with two Sennheiser MKH 800 Twin microphones as height channels. In a double-blind listening test, subjects were asked to rate different mixes of the same recordings based on preference. The independent variable element in these mixes was the polar pattern of the height channel microphones. Analysis of the results found that the vast majority of subjects showed no statistically significant preference for any one polar pattern.
Convention Paper 9419 (Purchase now)
P10-5 Listener Discrimination of High-Speed Digitization from Analog Tape Masters with Spectral Matching—Nick Lobel, Belmont University - Nashville, TN, USA; Eric Tarr, Belmont University - Nashville, TN, USA; Wesley Bulla, Belmont University - Nashville, TN, USA
This study investigated whether listeners could discriminate between real-time (RT) and double-speed (DS) digital transfers from analog tape recordings. Signals were recorded to tape at 15 inches per second (ips), then digitized at two copy rates: 15 ips (RT) and 30 ips (DS). The DS transfers were digitally time-stretched and spectrally processed to match the duration and frequency response of the RT transfers. Thirty-one listeners participated in an ABX experiment to discriminate between the RT and DS transfers. Results show discrimination between RT and DS transfers was not statistically significant. Additionally, discrimination did not vary significantly across different types of source signals.
Convention Paper 9420 (Purchase now)
Friday, October 30, 3:15 pm — 4:45 pm (Room 1A23/24)
Recording & Mastering: RM2 - Master Class with Warren Huart - Recording James Blunt and The Fray
Moderator:Jonathan Pines, Rupert Neve Designs - Wimberley, TX, USA; Private Studios - Urbana, IL, USA
Presenter:
Warren Huart, Producer, Engineer, Mixer, Songwriter
Abstract:
Warren Huart, a multi-platinum producer, mixer, songwriter, and educator, engineered “The Fray” which debuted at #1 on the Billboard chart, and a range of hits for artists including James Blunt. Warren’s engineering and production techniques have received accolades from Aerosmith’s Joe Perry and the Fray’s Isaac Slade. His web series “Produce Like a Pro” has attracted hundreds of thousands of views on YouTube. Warren will detail his techniques with live ProTools sessions and provide a look behind the scenes of alternative rock production.
Saturday, October 31, 9:00 am — 10:30 am (Room 1A21)
Workshop: W16 - Recording the Modern Big Band
Chair:Bradford Swanson, iZotope, Inc. - Cambridge, MA; University of Massachusetts - Lowell
Moderator:
Ryan Hewitt, Nice Rack Audio Services - Venice, CA, USA
Panelists:
Jim Anderson, New York University - New York, NY, USA
Bob Dawson, Bias Studios - Springfield, VA, USA
James Farber, Steelhead Enterprizes - New York, NY, USA
Leslie Ann Jones, Recording Engineer and Producer, Director of Music Recording and Scoring, Skywalker Sound - San Rafael, CA, USA
Al Schmitt, Los Angeles, CA, USA
Abstract:
The Jazz Orchestra and it's repertoire has evolved significantly over the past 75 years. How are modern engineers recording the next great masters of the genre?
Saturday, October 31, 9:15 am — 10:45 am (Room 1A23/24)
Special Event: Platinum Mastering
Moderator:Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Panelists:
Adam Ayan, Gateway Mastering Studios - Portland, ME USA
Tom Coyne, Sterling Sound - New York, NY, USA
Stephen Marcussen, Marcussen Mastering - Hollywood, CA, USA
Andrew Mendelson, Georgetown Masters - Nashville, TN, USA
Abstract:
A platinum panel of renowned mastering engineers will discuss the creative process behind some of the most famous albums in the world. We will speak about the creative elements of the mastering process that made these recordings so special and perhaps tell some stories about them as well. We will be playing examples and taking questions from the audience.
Saturday, October 31, 11:00 am — 12:30 pm (Room 1A23/24)
Recording & Mastering: RM3 - Master Class with Val Garay - Kim Carnes, Linda Ronstadt, and James Taylor
Presenter:Val Garay, Ranleigh Music LLC - Topanga, CA, USA
Moderator:
Glenn Lorbecki, Glenn Sound Inc - Seattle, WA, USA
Abstract:
Val Garay (recording Kim Carnes, Linda Ronstadt, and James Taylor) is a legendary Producer/Engineer with a career spanning 4 decades. He’s garnered over 100 Gold & Platinum records, 9 Grammy Nominations, and an Emmy Nomination, with total record sales over 125,000,000 worldwide. In this Master Class, Mr. Garay takes you behind the console for an in-depth look at making hit recordings and working with top-name artists, while discussing his revolutionary recording techniques in detail. Some of the classic recordings to be presented include “Bette Davis Eyes,” for which Mr. Garay won the “Record of The Year” GRAMMY as a Producer/Engineer, Linda Ronstadt’s “You’re No Good,” and tracks from James Taylor’s acclaimed “JT” album.
Saturday, October 31, 1:45 pm — 3:15 pm (Room 1A21)
Recording & Mastering: RM4 - Raw Tracks 2.0—Anatomy of: A Latin Jazz Classic—The Afro Latin Jazz Orchestra in Havana
Moderator:Daniel Freiberg, Freiberg Music - Westchester, NY, USA
Presenters:
Orestes Aguila, Sr., SOUNID - Havana, Cuba
Katherine Miller, Annandale Recording - North Plainfield, NJ, USA
Abstract:
Continuing the momentum of their multiple-Grammy winning “Offense of the Drum,” the ALJO’s new album, “Cuba: The Conversation Continues,” recorded this year in Havana, sets a high bar for depth, power, and dynamism. Brilliant music, stellar performances, and top-notch engineering make this set a one-of-kind masterpiece. Buena Vista Social Club engineer, Orestes Aguilar, and Grammy-winning mixer, Katherine Miller, show how it was done with photos and live ProTools sessions.
Saturday, October 31, 2:00 pm — 3:30 pm (Room 1A23/24)
Special Event: GRAMMY SoundTable: After Hours—Mixing for Late Night New York
Moderator:Will Lee, Musician - Nashville, TN, USA
Panelists:
Josiah Gluck, Saturday Night Live NBC Television - New York, NY USA
Harvey Goldberg, CBS/Late Show with Stephen Colbert - New York, NY USA
Lawrence Manchester, The Tonight Show Starring Jimmy Fallon - New York, NY, USA
Abstract:
It’s a new era on late night television, but one thing hasn’t changed: Side by side with political satire and cutting edge comedy, these programs continue to be the go-to showcase for the best in music, from buzz-building newcomers to the established cream of the crop—not to mention killer house bands! Join us for a personal conversation with the music mixers for "The Late Show With Stephen Colbert," "The Tonight Show Starring Jimmy Fallon," and "Saturday Night Live" as we delve into the logistics, challenges and technical expertise required to make these groundbreaking shows happen.
Saturday, October 31, 3:45 pm — 5:15 pm (Room 1A23/24)
Recording & Mastering: RM5 - Raw Tracks 2.0—Anatomy of: On-Set Recording "Nashville"—Keeping it Real
Moderator:Jim Kaiser, CEMB / Belmont University - Nashville, TN, USA
Panelists:
Matt Andrews, Woodland Studios - Nashville, TN, USA
Michael Colomby, Audio Head / Formosa Group - Los Angeles, CA, USA
Fred Paragano
Mike Poole, Mike Poole - Nashville, TN, USA
Glen Trew, Trew Audio - Nashville, TN, USA
Richard Weingart, Formosa Group - Hollywood, CA, USA
Abstract:
The critically acclaimed "Nashville" series (now in its fourth season) is notable for its reliance on "live music performance" as key to its storyline. Join our panel of experienced professionals as they reveal the intricacies required to maintain continuity and reality in each music scene, while supporting the acting talent and providing a compelling (seamless) viewing experience. Some of these features include the capture of the "musical performance," along with preparation to make sure all pre-production music will fit these requirements. Examples from previous season’s shows will demonstrate the way in which the music is developed and recorded in order to best suit the scene and all format releases (including iTunes).
This event is part of the Sound for Pictures Track.
Saturday, October 31, 5:30 pm — 7:00 pm (Room 1A23/24)
Recording & Mastering: RM6 - Master Class with Jack Douglas - Recording Aerosmith, Alice Cooper and John Lennon
Moderator:Jonathan Pines, Rupert Neve Designs - Wimberley, TX, USA; Private Studios - Urbana, IL, USA
Presenter:
Jack Douglas
Abstract:
Jack Douglas has produced, engineered, mixed, and written for many of the most influential records in rock history, including John Lennon’s Double Fantasy (Album of the Year Grammy Winner) and Aerosmith’s Toys in the Attic, which made Rolling Stone’s list of the “500 Greatest Albums.” He has worked with Miles Davis, The James Gang, Alice Cooper, Cheap Trick, Patti Smith, Blue Oyster Cult, and the New York Dolls. Jack will be playing tracks including some rare recordings by John Lennon, and detailing his techniques on the engineering side as well as the human side of making great records.
Sunday, November 1, 10:30 am — 11:30 am (Room 1A14)
Recording & Mastering: RM7 - The Game Has Changed but You Don’t Know It: How to Make Recordings Sound Great on Streaming
Presenter:Alan Silverman, Arf! Mastering - New York, NY, USA; NYU|Steinhardt Dept.of Music Technology
Abstract:
Records are engineered to sound their best in the real-world. To accomplish this on services like YouTube, Spotify, Apple Music, Tidal, and Pandora requires a different approach to mixing and mastering because of the way today’s streaming services treat audio. Few producers are aware of the game-changing technology under the hood. Recorded music can sound bigger and better than it has in the last decade, ironically, on audiophile systems as well, by applying an understanding of the new technology. Grammy-winning mastering engineer Alan Silverman demonstrates how to harness this potential to the fullest.
Sunday, November 1, 11:30 am — 1:00 pm (Room 1A21)
Recording & Mastering: RM8 - Master Class with Dave O'Donnell - Recording James Taylor's "Before This World"
Moderator:Glenn Lorbecki, Glenn Sound Inc - Seattle, WA, USA
Presenter:
Dave O'Donnell, James Taylor “Before This World”
Abstract:
Recording James Taylor’s “Before This World”
Dave O'Donnell has recorded and mixed many top artists, including Keith Richards, Eric Clapton, John Mayer, Keb' Mo', Lyle Lovett, Milton Nascimento, and Ray Charles. His credits include the critically acclaimed GRAMMY-winning October Road by James Taylor.
In this Master Class, Mr. O’Donnell gives us a detailed look at the making of James Taylor’s #1 album, Before This World—James’ first recording of all-original material in some 13 years. Featuring raw tracks and original session notes, Dave explains the fine points of recording world-class musicians in (sometimes) unconventional surroundings ranging from hotel rooms to James’ personal studio “barn.”
Sunday, November 1, 1:00 pm — 1:45 pm (Stage LSE)
Live Sound Expo: Choosing the Right Vocal Mic
Presenters:Mark Frink, Program Coordinator/Stage Manager - Jacksonville, Florida, USA; Independent Engineer and Tech Writer - IATSE 115
Peter Keppler
Kevin Madigan, Independent - Venice, CA, USA
Abstract:
While there are tried and true mics clinched by singers across the world, selecting the best mic for a vocalist involves more than snatching the most familiar mic off the shelf. This session talks microphone fundamentals (including polar-patterns and capsule construction), matching performance with a given voice and singing style, as well as tips for working with vocalists.
AES Members can watch a video of this session for free.
Sunday, November 1, 2:00 pm — 3:30 pm (Room 1A06)
Special Event: Christian McBride - Leader - Sideman: The Life of a Jazz Musician
Moderator:Harry Weinger, Universal Music Enterprises (UMe) - New York, NY, USA; New York University (NYU) - New York, NY, USA
Panelist:
Christian McBride
Abstract:
Accustomed to hosting gigs, radio shows, and podcasts Christian McBride, a four-time GRAMMY winner and one of the great bass players and bandleaders of our time, will be in conversation with Harry Weinger. Sit in for an exploration of Mr. McBride’s dual careers – as bandleader and sideman, composer and interpreter, lifelong student and educator – as well as Live At The Village Vanguard, the Christian McBride Trio’s latest album, among other recordings.
Mr. McBride has recorded 13 albums as a leader, and hundreds of additional recordings in several genres, collaborating with everyone from Chick Corea, Pat Metheny and Bruce Hornsby, to James Brown, Sting, The Roots, et al. He is co-founder and Artistic Chair of Jazz House Kids; artistic director of the Montclair Jazz Festival, produced by Jazz House Kids; artistic advisor of the James Moody Democracy of Jazz Festival, which debuted in 2012 at the New Jersey Performing Arts Center; and he currently serves as NJPAC’s Jazz Advisor.
Mr. Weinger, as a producer and executive with Universal Music Enterprises has overseen hundreds of reissues and compilations. He is a two-time GRAMMY(R) winner, was recently a consultant for both Get On Up, the James Brown biopic, and Mr. Dynamite: The Rise Of James Brown, a documentary directed by Alex Gibney, and is an adjunct professor at NYU’s Clive Davis Institute for Recorded Music
Sunday, November 1, 2:00 pm — 3:30 pm (Room 1A21)
Recording & Mastering: RM9 - Raw Tracks 2.0—Anatomy of: A Country Hit—Kacey Musgraves’ “Same Trailer Different Park”
Moderator:Jim Kaiser, CEMB / Belmont University - Nashville, TN, USA
Panelists:
Charlie Brocco
Ryan Gore, Engineer/Mixer - Nashville, TN, USA
Andrew Mendelson, Georgetown Masters - Nashville, TN, USA
Abstract:
The first record by new artist Kacey Musgraves on Mercury Nashville (Same Trailer Different Park) has been certified Gold and received critical acclaim, including four 2014 Grammy nominations, with wins for Best Country Song and Best Country Album. It is NOT your "typical country record," and the engineering team behind it will share the unique story about its creation from the studio through to finished product. Join the Nashville team of Charlie Brocco (tracking), Ryan Gore(recording/mixing), and Andrew Mendelson (mastering) as they detail how this artist-driven project unfolded, with behind-the-scenes pictures, video, and playback of tracks & songs at various stages of their journey.
