Thursday, September 29, 2:15 pm — 3:45 pm (Rm 501ABC)
Abstract:
This is maybe about continuing a discussion that I might have tried starting 20 years ago (“The Equivalence of Various Methods of Computing Biquad Coefficients for Audio Parametric Equalizers”). I'm sure that longer ago than that, practitioners in the studio had discussions regarding the setting of the Q knob (or bandwidth) for the bell parametric EQ, but this is about settling the issue of what the biquad filters should be, from an input/output or transfer function POV, given the positions of the knobs on an EQ whether it's a good-old-fashioned analog mix board or an EQ plugin or built-in EQ in a DAW. There has been some discussions about why a seemingly identical function implemented in different products sound so different, and to the extent possible, this proposed discussion is there to try to remove “different settings” as the cause.
Perhaps another reason to have this discussion perhaps a little late, but better than never, is because of automation. At present, as best as I know from what I am told, automation in Pro Tools and other DAWs is unitless and is essentially a zero to full-scale parameter that is interpreted solely by the floor and ceiling attributes of the slider the built-in EQ or the plugin control. I dunno, but it seems like to me that the AES is involved in standardization, when possible, of parameters and performance of audio functions that are common between gear from various manufacturers. There is a Standards Subcommittee on Metadata and a Standards Working Group on Audio-File Transfer and Exchange. Perhaps there is not yet a group defining automation standards, but eventually a user should be able to move the
raw sound files of a song or session running on one platform, a specific DAW with plugins or even an analog mixer with motorized faders, and move that to another platform and compare how they like the sound. It might be nice if the platforms could interpret the recorded metadata, which is essentially what automation is, in a compatible manner, at least with parameters that are universally understood.
So before too much of this is carved into stone in a standard somewhere, it might be nice if we could, as an industry, discuss among each other exactly what we mean by Q
This session is presented in association with the AES Technical Committee on Signal Processing |
Thursday, September 29, 2:15 pm — 3:45 pm (Rm 404AB)
Abstract:
In cooperation with the Manhattan Producers Alliance, this event will offer fresh insights into career development, networking, and entrepreneurship in an ever-changing industry. Come participate in open discussions, discuss your personal career goals, and get a chance to meet some ManhatPro members.
Thursday, September 29, 4:00 pm — 5:30 pm (Rm 406AB)
Abstract:
Subjective measurements (i.e., listening tests) on audio components and systems are time-consuming, expensive and challenging to conduct in a controlled way that produces meaningful results. The alternative is to rely entirely on objective measurements that are then interpreted by the engineer based on his/her experience in order to estimate perceived sound quality. In recent years, there have been several attempts to predict the sound quality ratings of listening tests based on objective measurements. Various models based on objective measurements have been developed to predict the perceived the perceived sound quality of audio components and systems including audio codecs, loudspeakers, headphones, automotive audio systems, and listening rooms. This workshop will give an overview of some of the challenges and limitations researchers face in developing models, discuss how accurate they are with some specific examples given from experts in the field. The workshop should be of interest to any professional or enthusiast interested in the perception and measurement of sound quality
This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals |
Friday, September 30, 10:45 am — 12:15 pm (Rm 408A)
Abstract:
We all are aware of the basic ways to use analog tape machines in traditional recording studios. Spend some time with Chris Mara (Mara Machines) and Dan Labrie (ATR Services) to explore creative uses of analog tape machines with DAWs without the hassles of synchronization. They'll be focusing on the future of tape machines & their continued relevance as the technology around us changes. Expect tons of Q&A.
Friday, September 30, 1:30 pm — 3:00 pm (Rm 404AB)
Abstract:
There are many challenges with signing-off a song. Digital technologies have allowed final decisions to be pushed further back in the production process. There are clearly benefits to these tools, allowing songs to be restructured during mixing or to correct specific issues that emerge during mastering, for example. Critical decision-making, however, is an integral part of all processes in music production, from songwriting and composition to tracking, mixing and mastering. The sign-off process is a fearful and intrepid one which many artists, A&R and producers find challenging; wrestling with their own definitions of ‘perfect’ and coming to terms with potential deficiencies in their process or tools. In this workshop, a number of esteemed recording, mixing and mastering engineers will discuss their own experiences with signing-off.
This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Friday, September 30, 3:15 pm — 4:45 pm (Rm 404AB)
Abstract:
Following up on the workshop presented at AES 139, this event will continue exploring the topic of recording large ensemble jazz in modern contexts. This panel of esteemed engineers will explore the intricacies of documenting the modern jazz orchestra and break down their preferences for ensemble configuration, microphone selection and placement, session management, and mixing techniques. The presentation will include session documentation, setup diagrams, photographs, and audio examples from recent releases.
Saturday, October 1, 10:45 am — 12:15 pm (Rm 404AB)
Abstract:
What defines the art of "genius"? PSNEurope offers one possible definition. It’s the moment when the clouds part, when the route to success is clear; the "lightbulb moment," when everything you knew before has changed, and nothing will be the same again. . . The Genius! Live session will celebrate these unique moments of clarity with a number of leading names in the industry, each of whom you might just want to call a "genius." What were they doing when the lightbulb moment arrived? And what happened next?
The event will be based on the tried-and-tested "PSNPresents" events in the UK, with host Dave Robinson (editor of PSNEurope, aka Pro Sound News Europe) ensuring no one gets bogged down in equations but everyone leaves entertained and informed!
Saturday, October 1, 3:15 pm — 4:45 pm (Rm 408B)
Abstract:
This workshop will offer a survey of various tools and modes available to help people learn about all facets of audio and music production. Panelists will offer a description of applications, online courses, MOOC's, mobile apps, and others.
Sunday, October 2, 9:00 am — 10:30 am (Rm 408B)
This session is presented in association with the AES Technical Committee on Hearing and Hearing Loss Prevention |
Sunday, October 2, 10:45 am — 12:15 pm (Rm 408B)
Abstract:
Considering the interests and growth of ear training in the audio communities, it is timely and important to have a chance to share and discuss the opinions from the experts about necessary features and methods that assist trainees in acquiring the critical listening ability with efficiency, both for personal and group training.
The current workshop aims to let workshop attendees experience and compare the characteristic functions of various ear-training programs through hands-on demonstrations by the panelists. While the workshop locally aims to provide the attendees with chance to experience theoretical and empirical matters of ear training programs around the world, it also globally aims to consider the importance of “listening” in the current video-oriented society.
This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals |