Thursday, September 29, 2:15 pm — 3:45 pm (Rm 408B)
A panel with first-hand experience on these specialized and currently topical events has being assembled. Consultant Ken Fause, Sound Designers Patrick Baltzell, Stan Miller and Michael Abbott will discuss how sound aspects of the Republican and Democratic debates and conventions, the Presidential debates, and the inaugurations were handled in the distant and recent past. Sound reinforcement, broadcast sound, and audio communications will all be discussed.
Thursday, September 29, 2:15 pm — 3:45 pm (Rm 408A)
There is no doubt that audio and sound is essential to every storyline. It enhances the visual experience and adds depth, dimension, and emotion. It is sound that engages the viewer and drives the storyline. The creativity of the audio design and balancing of multiple audio elements produces the key "sonic signature" of the sound and brings a unique life to the content. In the spirit of SMPTE’s centennial year, this panel will look back at key developments in audio and sound technologies for both broadcast and cinema and how these have affected production for live events, movie shoots and post-production sound. The panel will discuss important milestones such as digital recording, editing and distribution, immersive audio and, perhaps, if we’re lucky, share a few personal experiences and memories as they travel along with the evolution.
Coproduced with Society of Motion Picture and Television Engineers
|This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery|
Friday, September 30, 3:30 pm — 5:00 pm (Rm 502AB)
Some of the most important and influential recordings of all time were created in British studios during the 1960s and 1970s—iconic places like Abbey Road, Olympic, Trident, Decca, Pye, IBC, Advision, AIR, and Apple. This presentation will unravel the origins of the so-called "British Sound" and celebrate the people, equipment, and innovative recording techniques that came out of those hallowed halls, including rare photographs, videos, and musical examples.
Friday, September 30, 5:00 pm — 6:30 pm (Rm 406AB)
One of the leaders in U.S. studio design over six decades will give his personal perspective on the evolution of various design approaches. George Augspurger is an audio and acoustical engineer who has been active in recording studio work since the 1960s. He spent more than a decade with JBL starting in 1958, then started his own consulting firm in 1970 and continues to be actively engaged in architectural acoustics and studio design projects. He has designed hundreds of studios, mastering rooms, and screening rooms as well as custom monitor loudspeaker systems. He is a fellow of both the Audio Engineering Society and the Acoustical Society of America. In this presentation he will outline the development of modern studio design practices, with examples of important projects and events over a 65-year timeline. The presentation will be followed by questions from the audience.
Saturday, October 1, 10:45 am — 12:15 pm (Rm 406AB)
For the first century of music recording, the sound of the recorded voice was very much driven by the initial limitations and slow-but-steady advancement of the audio technologies available at the time. First there were no microphones and recording was an unplugged acoustic and mechanical experience. Carbon, ribbon, condenser, and moving coil designs followed, each having an audible impact on the pop vocal. With the extraordinary capabilities of gear available today, we face fewer constraints. In fact, a contemporary challenge might be that, freed of technical restrictions, we have too many possibilities —too broad a range of creative options for tracking the all-important lead vocal. In this tutorial, Alex U. Case highlights what we might learn from audio history to drive our decisions for getting the right vocal sound at our next gig.
Saturday, October 1, 5:00 pm — 6:30 pm (Rm 403A)
Four decades of system development will be highlighted, in timelines for both control and electroacoustical domains. In historical review, this presentation highlights the evolutionary process from control-only networks to networked digital audio, and migration paths from powered speaker arrays to line array elements to beam-steerable systems. Various speaker array topologies in use over time will be reviewed as a series of developments having taken place since the 6th International Conference (Sound Reinforcement, Nashville, 1988) and the 13th International Conference (Computer-controlled sound systems, Dallas, 1994), with content at these landmark AES events having foreshadowed today’s high-powered loudspeaker arrays that incorporate beam-steering technology. Emerging trends will be examined and potential future developments contemplated. Of potential interest to sound reinforcement technicians, system operators, installed-system designers, rental service providers, and product development engineers.
Sunday, October 2, 1:30 pm — 3:00 pm (Rm 408A)
Horns are undoubtedly the oldest audio equipment. There are two major functions of horns: providing high-efficiency of horn-loaded transducers (often in combination with phasing plugs in compression drivers,) and providing desirable SPL coverage and directivity control. The tutorial will consider such aspects of horns as derivation of basic horn wave equation (Webster Equation), analysis of directivity control, the role of the wavefront at the throat of horn on directivity of horns at high frequencies, influence of the high-order modes on performance of horns, influence of the mouth diffraction on performance, comparison of axisymmetric, elliptical, and rectangular horns. Also nonlinear propagation effects due are analyzed and explained. Retrospective review of patents is carried out as well as the review of the technical achievements of JBL Professional in horns and waveguides technologies