AES New York 2018
Recording & Production Track Event Details
Wednesday, October 17, 9:00 am — 10:00 am (1E08)
Sound Reinforcement: SR01 - Live Sound Production in a TV World
Presenters:Jenny Montgomery, IATSE Local One - New York, NY, USA; A2, Brute?
Matt Kraus, IATSE
Jenny Montgomery was the lead A2 on the recent live event broadcast of Jesus Christ Superstar. She and other members of the production team will discuss the issues of a one off live event and how the live sound is integrated into the overall production.
Wednesday, October 17, 9:30 am — 10:30 am (1E13)
Archiving & Restoration: AR01 - Archiving and Best Practices for Modern Production Workflows
Chair:Konrad Strauss, Indiana University - Bloomington, IN, USA
Panelists:
Chuck Ainlay, METAlliance - Nashville, Tennessee, USA
Maureen Droney, The Recording Academy - Los Angeles, CA, USA
Bob Koszela, Iron Mountain Entertainment Services - Kennerdell, PA, USA
Michael Romanowski, Coast Mastering - Berkeley, CA, USA; The Tape Project
While technology has democratized music creation, the abundance of recording formats and the rate at which technology evolves present a dizzying array of choices to the artist. Additionally, many artists are working outside the music industry pipeline, reaching their audience directly via online portals. In effect, they are their own curators, preserving their artistic output.
The Producers and Engineers Wing of the Recording Academy recently revised their Recommendations for Delivery of Recorded Music Projects and released Recommendations for High-Resolution music production. They have also been a leader in the development of the DDEX recording metadata standard called RIN (Recording Information Notification). This panel will discuss technical best practices and the many challenges artists and producers face when creating and archiving music using modern technology.
Wednesday, October 17, 10:15 am — 11:30 am (1E08)
Game Audio & XR: GA01 - Practical Recording Techniques for Live Music Production in 6DOF VR
Co-moderators:Cal Armstrong, University of York - York, UK
Gavin Kearney, University of York - York, UK
David Rivas Méndez, University of York - York, UK
Panelists:
Hashim Riaz, Abbey Road Studios - London, UK
Mirek Stiles, Abbey Road Studios - London, UK
As virtual and augmented reality technologies move towards systems that can deliver full six degrees of freedom (6DOF), it follows that good strategies must be employed to create effective 6DOF audio capture. In a musical context, this means that if we record an ensemble then we must give the end user the potential to move close and even around audio sources with a high degree of plausibility to match the visuals. This workshop looks at recording strategies that enable 3DOF/3DOF+ and 6DOF for live music performances.
 | This session is presented in association with the AES Technical Committee on Audio for Games |
Wednesday, October 17, 10:45 am — 12:15 pm (1E21)
Recording & Production: RP01 - Microphones—Can You Hear the Specs? A Master Class
Chair:Helmut Wittek, SCHOEPS Mikrofone GmbH - Karlsruhe, Germany
Panelists:
Eddy Bøgh Brixen, EBB-consult - Smørum, Denmark; DPA Microphones - Allerød, Denmark
David Josephson, Josephson Engineering, Inc. - Santa Cruz, CA, USA
There are numerous microphones available to the audio engineer. It's not easy to compare them on a reliable basis, often the choice of the model is made on the basis of experience or perhaps just habits—or just because it looks nice. Nevertheless, there is valuable information in the microphone specifications. This master class held by well-known microphone experts of leading microphone manufacturers demystifies the most important microphone specs and provides the attendees with up-to-date information on how these specs are obtained and can be interpreted. Furthermore, many practical audio demonstrations are given in order to help everyone to understood how the numbers relate to the perceived sound.
| This session is presented in association with the AES Technical Committee on Microphones and Applications |
Wednesday, October 17, 11:00 am — 11:45 am (1E15 +16 SE)
Special Event: SE00 - How Next Generation Audio Innovations Will Reshape the Mobile Device Experience
Presenter:Jyri Huopaniemi, Nokia - Espoo, Finland
Sound has been a fundamental building block of mobile telephony and mobile devices since the very beginning of the connectivity era. Significant advances have since been made in the quality and variety of audio-based applications. However, there are areas where audio has not yet reached its true potential. In this talk we focus on areas of mobile audio that are currently gaining consumer attention: communication, immersion, and user-generated content.
Today, people are telling their stories with technology, and they are increasingly using mobile devices to capture the full richness of their lives; in pictures, videos, and sounds. We discuss solutions and opportunities which allow consumers to capture and share audio with depth, direction, and detail.
The use of voice has quickly expanded from person-to-person communication in voice and conference calls to voice-based control. The rapid emergence of intelligent assistants places significant new requirements on the quality of sound capture and rendering. In parallel, the basic function of mobile devices, namely voice calls, has undergone significant improvements in quality. We offer a glimpse to some of the challenges and future opportunities in voice-based applications and immersive voice and audio services.
Wednesday, October 17, 2:30 pm — 3:30 pm (1E13)
Archiving & Restoration: AR02 - Help! I Have a Tape Machine
Moderator:Noah Simon, New York University - New York, NY, USA
Panelists:
John French, JRF Magnetic Sciences Inc - Greendell, NJ, USA
Chris Mara, Mara Machines - Nashville, TN, USA
Bob Shuster, Shuster Sound - Smithtown, NY USA
Dan Zellman, Zeltec Service Labs - New York, NY, USA; Zeltec Research & Development
Analog tape is increasingly becoming a vintage format. As this medium heads towards its twilight, it's crucial to share knowledge of how to maintain, evaluate, and source machines. This panel discussion will cover topics such as assessing the tape path, recognizing issues with motors, calibration techniques, maintaining electronics and mechanics, evaluation of heads and what to look for when purchasing a machine. The panel will consist of highly esteemed maintenance engineers with centuries of analog tape machine knowledge between them, including John French of JRF Magnetics, Bob Shuster, and Dan Zellman, well-known technicians in the New York area, moderated by Noah Simon from the Recorded Music program at New York University.
Wednesday, October 17, 2:30 pm — 3:30 pm (1E21)
Recording & Production: RP02 - Mastering Content for Loudness Specifications: A Discussion of Best Practices, Pitfalls, and Other Practical Considerations for Engineers and Educators
Presenters:Adam Ayan, Gateway Mastering Studios - Portland, ME USA
Adam Grover, Sterling Sound
Bob Katz, Digital Domain Mastering - Orlando, FL, USA
Alex Kosiorek, Central Sound at Arizona PBS - Phoenix, AZ, USA
Jamie Tagg, Indiana University - Bloomington, IN, USA; Stagg Sound Services, LLC
Navigating today’s loudness standards can be confusing to young engineers and others not frequently working with these requirements. This panel of audio experts and educators will address the justification for these standards, what they mean for us and how to optimize our workflow to accommodate their requirements over a variety of commercial delivery formats. Particular attention will be payed to balancing problematic sound sources with dialogue, the state-of-the-art in metering, formats and delivery methods, and workflow considerations with which young engineers and interns should be familiar.
Wednesday, October 17, 3:45 pm — 4:45 pm (1E21)
Recording & Production: RP03 - Metadata – Getting Found, Getting Paid
Presenter:Paul Jessop, County Analytics Ltd - Dunstable, Bedfordshire, UK
Metadata used to be hurried notes on tape boxes. Now it is the way music is found, celebrated, and paid for. It may not be as sexy as high resolution or surround mixing—but it is arguably just as important. For each of us in music, it is part of our present and our future and it needs to be done right.
Paul Jessop has been working on standards in this area for decades and will present an overview of the practical steps that audio sector professionals need to take. He will cover ISRC, ISWC, ISNI, IPI, DDEX, RIN, and indeed other terms found in the left-over alphabet soup bowl.
Wednesday, October 17, 4:15 pm — 5:45 pm (1E06 (Immersive/PMC Rm))
Recording & Production: RP04 - The WoW Factor
Presenter:Jim Anderson, Anderson Audio NY - New York, NY, USA; Clive Davis Institute of Recorded Music, New York University - New York, NY, USA
What is Wow? Who has Wow? Where is Wow? Why is Wow needed? When can I get Wow? How can I get Wow?
Over one hundred years ago, audiences experienced “Wow” listening to a singer and comparing their sound with a recording. Observers at the time found that it was “almost impossible to tell the difference” between what was live sound and what was recorded. Sixty years ago, the transition from monaural sound to stereophonic brought “realism” into listener’s homes and today audiences can be immersed in sound. This talk will trace a history of how listeners have been educated and entertained to the latest sonic developments and said to themselves and each other: “Wow!”
Wednesday, October 17, 4:45 pm — 5:45 pm (1E15 +16 SE)
Special Event: SE03 - Smalls Change – Deconstructing a Record with Derek Smalls
Presenters:Derek Smalls, Formerly of the Band Formerly known as Spinal Tap - London, UK
CJ Vanston
Legendary Bass Player Derek Smalls (Derek Smalls - Formerly of the Band Formerly known as Spinal Tap) discusses his latest solo album featuring multiple superstar guest musicians and full orchestra, with Producer/Co-Songwriter/Musician CJ Vanston.
Wednesday, October 17, 5:00 pm — 6:00 pm (1E21)
Recording & Production: RP05 - Podcast Production
Moderator:Terri Winston, Women's Audio Mission - San Francisco, CA, USA
Panelists:
Mitra Kaboli, The Heart, WNYC
Chaquita Paschal, Uncivil/Gimlet, Another Round/Buzzfeed
Haley Shaw, Gimlet Media - Brooklyn, NY, USA
An inside look at the audio production and sound design of podcasts. The panel will feature podcast producers and engineers deconstructing clips and discussing the production process from story inception to sound design to editing and mixing.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 18, 9:00 am — 10:00 am (1E10)
Archiving & Restoration: AR03 - Archive This! How Mastering Engineers Have Become Default Guardians of Audio Assets
Presenters:Michael Graves, Osiris Studio - Los Angeles, CA, USA
Andreas Meyer, Swan Studios NYC / Meyer Media LLC - New York City, NY, USA
Cheryl Pawelski, Omnivore Records
Mastering engineers rarely deliver a physical product for manufacturing anymore. Once the final product is released, we may not hear from the artist or label again ... until years later when the phone rings and we hear, "Remember that album we did back in 200X? Now we want to create high resolution masters, vinyl masters, and a few remixes."
Responsibility for long term preservation of recorded assets has shifted from the record label to the expectation that someone else (often, the mastering engineer!) will take care of it. This panel explores the issues in asset management, the decision to archive or not to archive, the legal ramifications, and whether there ought to be a new, subscription-based business model for long term storage of client data.
Thursday, October 18, 9:00 am — 10:00 am (1E17 (Surround Rm))
Immersive & Spatial Audio: IS03 - Workflows and Techniques for Ambisonic Recording and Postproduction
Chair:Ming-Lun Lee, University of Rochester - Rochester, NY, USA
Panelists:
Olivia Canavan, University of Rochester - Rochester, NY, USA
Steve Philbert, University of Rochester - Rochester, NY, USA
For a 360/3D VR video with head-tracked binaural audio, we have to use Ambisonics to capture the overall sound field. Although some high-end VR cameras have built-in Ambisonic microphones, most of them can only record first-order Ambisonics in the horizontal plane. The sound qualities are also not good in general. To achieving high-quality 3D audio, a recommended solution is to record audio with a separate Ambisonic microphone and then mix with the video during recording or post-editing. With the experience of recording Ambisonics using the em32 Eigenmike microphone array, Zylia ZM-1 microphone, Core Sound Tetramic, and Sennheiser Ambeo VR microphone for many concerts, this workshop aims to offer optimized workflows and practical techniques for Ambisonic recording, conversion, editing, rendering, playback, and publishing.
Thursday, October 18, 9:00 am — 10:00 am (1E21)
Recording & Production: RP06 - From Streaming to Vinyl (and Even Cassette!)—Understanding Distribution Formats
Moderator:Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Panelists:
Margaret Luthar, Chicago Mastering Service - Chicago, IL, USA
Dave Polster, Well Made Music - Cleveland, OH, USA
Mandy Parnell, Black Saloon Studios - London, UK
The way music gets distributed from artist to consumer is varied. In this panel we'll discuss the distribution formats that are used today; vinyl, streaming services, CD, cassette—and what are the limitations, benefits, and myths about each format. Technical specs for streaming, as well as the vinyl production process will be described as well as best practices for providing audio to mastering engineers. The hope is to de-mystify distribution and allow everyone involved in the production process be able to communicate effectively with regards to concerns, suggestions, and achieving the best result.
Thursday, October 18, 9:15 am — 10:15 am (1E07)
Recording & Production: RP07 - Circles of Confusion
Moderator:Thomas Lund, Genelec Oy - Iisalmi, Finland
Panelists:
Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Sean Olive, Harman International - Northridge, CA, USA
Floyd Toole, Acoustical consultant to Harman, ex. Harman VP Acoustical Engineering - Oak Park, CA, USA
30.000 year old cave paintings are among human beings' most impressive cultural heritage, while it's unknown how excellent composers sounded even 300 years ago. We recently acquired technical skills to record sound, but that asset is now degenerating because of cognitive limitations and the circles of confusion, addressed by this panel.
Without proper anchoring of spectral balance and level, drifting over time is inevitable in self-referenced systems, thereby putting legacy recordings at the risk of sounding dated for no good reason, or causing irreversible distortion to be added to pieces of art. The panel will discuss baseline listening requirements for in-room and headphone spectral balance and level that stand the test of time, putting our interests as a species above commercial trivialities.
Thursday, October 18, 10:15 am — 11:15 am (1E17 (Surround Rm))
Immersive & Spatial Audio: IS04 - STAAG Implementation Expanded: A Practical Demo of STAAG Mic Technique and its Use in Stereo, Surround, and Height-Channel Capture for Recording and Broadcast
Presenters:David Angell, Central Sound at Arizona PBS - Phoenix, AZ, USA
Jamie Tagg, Indiana University - Bloomington, IN, USA; Stagg Sound Services, LLC
While working on location, audio engineers are often challenged by insufficient monitoring, making choices which lead to timbral, wet/dry balance, and stereo image problems. This tutorial examines the use of STAAG (Stereo Technique for Augmented Ambience Gradient) and its established advantages for addressing stereo image, acoustic realism, and flexibility in the mix. While originally optimized for immersive headphone listening, this technique has proven advantageous when upscaling to stereo, surround, and even height-channel loudspeaker systems and stereo/surround broadcast streams. Also, this setup is advantageous when working on location and in live performance scenarios due to its compact arrangement and compatibility with a wide variety of microphones. This tutorial will feature physical configurations and playback of audio examples in a variety of formats.
Thursday, October 18, 10:15 am — 11:15 am (1E21)
Recording & Production: RP08 - Space, Place, and Bass: Providing Modern Metal Music with an Appropriate Balance between Heaviness and Clarity
Presenters:Steven Fenton, University of Huddersfield - Huddersfield, West Yorkshire, UK
Mark Mynett, University of Huddersfield - Huddersfield, UK
Distinct challenges are posed when providing the various sounds/performances of a modern metal mix with appropriate space, place, and bass. This is especially the case when down-tuning is combined with fast performance subdivisions and ensemble rhythmic synchronization.
This workshop covers intermediate-to-advanced “space, place and bass” mix principles that afford this production style an appropriate balance between heaviness and clarity, including: frequency bracketed kick and bass approaches; anti-masking mix theory (with a focus on different “designs”); dynamic EQ and multi-band compression use; series and parallel dynamics approaches; and time-based processing principles.
Mark Mynett, who lectures in Music Technology and Production at Huddersfield University, is a record producer and author of Metal Music Manual, the world’s first book on producing/engineering/mixing and mastering contemporary heavy music.
Thursday, October 18, 10:45 am — 12:15 pm (1E15 +16 SE)
Special Event: SE04 - Platinum Latin Producers & Engineers
Moderator:Andres A. Mayo, Andres Mayo Mastering & Audio Post - Buenos Aires, Argentina
Presenters:
Rafael Arcaute
Gustavo Borner, igloo music - Burbank, CA, USA
Eduardo Cabra, (Visitante)
Andres Levin, Music Has No Enemies - New York / Havana; Habanico - New York/Havana
Eduardo Pereyra, Mamma's House Studio | Romaphonic Studios - Buenos Aires, Argentina
Rafa Sardina, Fishbone Productions, Inc. - Los Angeles, CA, USA
The Platinum Latin Panel brings every year some of the finest audio professionals. Multi-platinum record producers and GRAMMY winners, the presenters will tell you all about producing great music for the Latin market.
Thursday, October 18, 11:30 am — 12:30 pm (1E10)
Audio for Cinema: AC02 - Collaboration at a Distance: Real-Time Remote Recording Tools for Scoring and Post Audio
Presenter:Robert Marshall, Source Elements
Market forces and the advent of new technology and the internet have greatly altered the world of film scoring, along with other related enterprises in audio post. Excellent tools exist for collaborating remotely on recording sessions. Workflows have built up and developed over time to allow those constrained by budget, or desiring the artistic services of someone who is geographically remote, to conduct full sessions with talkback and good monitor audio. This workshop is an exploration of one of the major tools, along with examples of how remote recording is being used in scoring and other disciplines.
Thursday, October 18, 11:30 am — 12:30 pm (1E17 (Surround Rm))
Game Audio & XR: GA05 - A Systemic Approach to Interactive Dialogues on Assassins Creed Odyssey—From Speech to SFX to Music
Presenters:Lydia Andrew, Ubisoft - Quebec City, Canada
Greig Newby, Ubisoft - Quebec, Canada
From the beginning of Assassin’s Creed Odyssey, we recognized that this rich, continually unfolding open world game demanded more than the traditional manual, minute-by-minute approach to audio design, integration and mixing. The dual protagonists, the interactive dialogues, and the massive scale meant we needed to build systems that were both responsive to the complexity of our game world and to the individuality of our players’ choices.
The presentation will cover this systemic approach, showing how we created and used tools and pipelines to support our player’s freedom of choice. We will talk about the complexity of constructing, recording, and integrating the voice into the interactive dialogue system, focusing on the new tools and pipelines we developed. We will show how music is used in the interactive dialogues to support character, emotion, and player choice. We will talk about how we aimed to maintain the consistency of the player experience with Foley, sfx, and ambiences by seamlessly moving in and out of the interactive dialogues. Finally, we will discuss how we brought all these elements together through systems that were the friend not the enemy of creativity.
The attendees will walk away with an understanding of the potential challenges of implementing a branching interactive dialog system in an open world game and some insights on how to transform their traditional linear pipelines.
Thursday, October 18, 11:30 am — 12:30 pm (1E21)
Recording & Production: RP09 - Creative Ways to Use an Analog Tape Machine with a DAW
Presenter:Chris Mara, Mara Machines - Nashville, TN, USA
Fast and easy ways to use an analog tape machine with a DAW in new and creative ways, without the use of synchronization. Demonstration and application in a modern music production environment.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 18, 1:45 pm — 2:45 pm (1E21)
Recording & Production: RP10 - Evolution of Album Production from Start to Finish
Chair:Terri Winston, Women's Audio Mission - San Francisco, CA, USA
Panelists:
Heba Kadry, Timeless Mastering - Brooklyn, NY, USA
Erin Tonkon, Tony Visconti Productions - Brooklyn, NY, USA
Simone Torres, Vocal Producer and Multi Platinum engineer (Sia, Dua Lipa, Usher)
The world's top producers, engineers, and artists discuss the latest work flow and production tips that most effectively move projects from pre-production to tracking and editing to mixing and mastering. Panel will explore the recording process from all angles of traditional acoustic production, beat-making, topline writing, and mastering.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 18, 2:45 pm — 3:45 pm (1E15 +16 SE)
Special Event: SE07 - Al Schmitt—On the Record
Presenters:Maureen Droney, The Recording Academy - Los Angeles, CA, USA
Al Schmitt, Los Angeles, CA, USA
Al Schmitt is a multiple GRAMMY Award winning engineer and producer; a music legend whose career spans more than six decades. In fact, Al has received the most GRAMMYs ever awarded to an engineer. He’s worked with such iconic artists as Paul McCartney, Ray Charles, Toto, Diana Krall, Steely Dan, Bob Dylan, Barbra Streisand, Neil Young, Quincy Jones, Henry Mancini, Tony Bennett, Linda Ronstadt, Natalie Cole, and so many more. In this wide-ranging discussion with Maureen Droney, Managing Director of the Recording Academy Producers & Engineers Wing, Schmitt will share stories from his life in music along with practical tips and sage advice about what it takes to become one of the most in-demand talents in the business. This discussion also commemorates the release of Al’s autobiography: Al Schmitt on the Record: The Magic Behind the Music (Hal Leonard).
Thursday, October 18, 3:00 pm — 4:30 pm (1E17 (Surround Rm))
Audio for Cinema: AC03 - Modern Scoring Workflows: Mixing Multi-Stem Score in the Box—A Master Class featuring Alan Meyerson
Presenter:Alan Meyerson
Legendary film score mixer Alan Meyerson (200+ major film score credits) will elucidate his approach to mixing multi-stemmed scores in the box, using AVID Pro Tools.
Thursday, October 18, 3:00 pm — 5:00 pm (1E08)
Immersive & Spatial Audio: IS06 - Spatial Audio Microphones
Chair:Helmut Wittek, SCHOEPS Mikrofone GmbH - Karlsruhe, Germany
Panelists:
Gary Elko, mh acoustics - Summit, NJ USA
Brian Glasscock, Sennheiser
Hyunkook Lee, University of Huddersfield - Huddersfield, UK
Len Moskowitz, Core Sound LLC - Teaneck, NJ, USA
Tomasz Zernicki, Zylia sp. z o.o. - Poznan, Poland
Multichannel loudspeaker setups as well as Virtual Reality applications enable Spatial Sound to be reproduced with large resolution. However, on the recording side it is more complicated to gather a large spatial resolution. Various concepts exist in theory and practice for microphone arrays. In this workshop the different concepts are presented by corresponding experts and differences, applications as well as pros and cons are discussed. The different array solutions include coincident and spaced Ambisonics arrays as well as Stereophonic multi-microphone arrays.
| This session is presented in association with the AES Technical Committee on Microphones and Applications |
Thursday, October 18, 3:00 pm — 3:30 pm (1E21)
Recording & Production: RP11 - Mastering in the Box—Why You Don't Need Anything Else
Presenters:Ezequiel Morfi, TITANIO - Buenos Aires, Capital Federal, Argentina
Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
There has been already much controversy on the topic "analog vs. digital" when it comes to regular use inside the modern studio for mixing and mastering. Not willing to join in that discussion, here is a proposal for a processing-chain entirely conceived inside the digital domain that will deliver on any mastering application needed without the operator "having to do with" or miss anything from the analog world—an entire ITB procedure for common mastering practices for any music genre. Technical explanation of the “workarounds” as done with plug-ins for the common digital shortcomings will be fully explained along with a simple but effective mastering processing chain that is designed to be a template for most studio applications regardless of type of program material.
Thursday, October 18, 3:45 pm — 4:45 pm (1E21)
Special Event: SE08 - Mastered by Bob Ludwig: An Exploration of his Career and Techniques
Presenters:Jett Galindo, Bakery Mastering - Los Angeles, CA, USA
Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Jett Galindo of Bakery Mastering hosts a conversation with legendary mastering engineer Bob Ludwig of the famed Gateway Mastering Studios. Ludwig’s career began during an era when mastering technology looked very different than it does today. The interview explores Ludwig's perspective on all things mastering including how he has navigated those changes, his observations about what has changed, exploration of technology old and new, and insights into how he approaches his work. We’ll hear a sampling of some of his work and learn, what does "Mastered by Bob Ludwig" mean?
Thursday, October 18, 4:00 pm — 5:30 pm (1E12)
Education: ED02 - What’s Driving the International EDU/Pro Audio Education Boom?
Moderator:John Storyk, Walters-Storyk Design Group - Highland, NY, USA
Panelists:
Rob Jaczko, Berklee College of Music - Boston, MA, USA
Paul Lehrman, Tufts University - Medford, MA, USA
Dana Roun, Full Sail University - Orlando, FL, USA
Mary Simoni, Rensselaer Polytechnic Institute - Troy, New York, USA
Cyrille Taillandier, Drexel University - Philadelphia, PA, USA
Many global universities are making significant investments in faculty, real estate, and cutting-edge technology in support of professional audio production/teaching facilities. 2018 looms as a watershed year for new entries: Drexel University, Rensselaer Polytechnic Institute, Concordia College, ICESI U (Cali, Colombia), are just some of the institutions opening teaching complexes for audio in 2019. This panel of leading educators will explore the escalating commitment to pro audio education. Topics include: • What are the issues in designing for technical and creative training? • How do we “future-proof” our new facilities? • Where do today’s (and tomorrow’s) students end up working? • Engineering vs. liberal arts / Dedicated schools vs. traditional colleges: How do we incorporate intensive audio training into a more comprehensive curriculum—or should we?
Thursday, October 18, 4:15 pm — 5:45 pm (1E10)
Networked Audio: NA05 - AES67/ST2110 Technical: Synchronization and Redundancy
Presenters:Claudio Becker-Foss, DirectOut GmbH - Mittweida, Germany
Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
With a shared interest in media operability, the AES and SMPTE have both been developing standards for networked media. The audio part of SMPTE’s new standard for “Transport of Professional Media over Managed IP Networks”, ST 2110, builds on AES67, the “High-performance streaming audio-over-IP interoperability” standard. This session features several noted authors in the field to discuss these standards from a technical perspective, namely explaining commonalities and constraints among both standards, the principles of sample-accurate synchronization among individual essence streams and how to implement increased operating safety utilizing stream redundancy as defined in SMPTE ST2022-7.
Thursday, October 18, 5:00 pm — 6:00 pm (1E21)
Recording & Production: RP12 - Beat Breakdown
Moderator:Terri Winston, Women's Audio Mission - San Francisco, CA, USA
Panelists:
Zukye Ardella
Crystal Caines, Producer, Rapper ( A$AP Ferg , MIA)
Ms. Madli, Composer, Producer, Beatmaker
Emmanuel "Manny" Mozart
Producers and beat makers talk about the tools and workflow they use to create tracks for everyone from A$AP Ferg to MIA to Crystal Caines and performing in international producer showcases and and beatmaking competitions like "Beast of the Beats."
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 18, 5:15 pm — 5:45 pm (1E06 (Immersive/PMC Rm))
Audio for Cinema: AC04 - The 5th Element – How a Sci-Fi Classic Sounds with a New 3D Audio Mix
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
The 5th Element—it’s certainly a milestone in Sci-Fi film history. Recently it was completely overworked doing a completely new film scan in 4k and mixing the whole audio elements again in Dolby Atmos and Headphone Surround 3D. This version was released in Germany as UHD Blu-ray and offers a fantastic new adventure of this great production from Luc Besson. The session offers listening examples and inside information of the production.
Thursday, October 18, 6:15 pm — 8:30 pm (Off-Site 2)
Historical: H05 - Both Sides Now: Joni Mitchell at the Isle of Wight 1970
Presenter:Eliot Kissileff
Producer Eliot Kissileff discusses the restoration ordeal of creating the movie and soundtrack, filmed by Murray Lerner and recorded by Teo Macero and Stanley Tonkel.
Featuring concert footage as well as contemporaneous interviews at the festival with attendees as well as a 2003 interview Ms. Mitchell, the film will be released for the first time at the end of September. This will be the first New York showing.
This event will be at the Dolby Theater. Doors will be at 6:15 pm, program will start at 6:45 pm and end at 8:30. We must be completely out of the room by 9:00 pm.
No food or drink other than water allowed in theater.
This will be a ticketed event (available in the Dolby Demo room)
Friday, October 19, 9:00 am — 10:30 am (1E17 (Surround Rm))
Historical: H06 - The Commercialization of Stereophony, 1955–1960
Presenter:Thomas Fine, Tom Fine Audio Services - Brewster, NY, USA
In 1955, stereo reel to reel tapes and players came to market, representing the beginning of the record business's commercialization of stereophony. By late 1958, 60 years ago, most of the major companies were releasing stereo LPs.
Continuing on his previous presentation, "The Roots of Stereophony," Fine will detail the technologies, key people and software of the early commercialization of stereophonic sound recordings. The presentation will include rare audio examples, including excerpts from the first commercially available stereo LP, plus excerpts from the author's collection of stereo demonstration records and tapes.
Also under discussion will be the marketing techniques used to convince people to ditch their one-speaker listening system and embrace 2-channel stereophony.
Friday, October 19, 9:30 am — 12:30 pm (1E12)
Immersive & Spatial Audio: IS10 - Facebook 360 Training
Presenters:Andres A. Mayo, Andres Mayo Mastering & Audio Post - Buenos Aires, Argentina
Abesh Thakur, Facebook - California, USA
Crash course on the end-to-end workflow for spatial audio design and asset preparation of 360 and 180 immersive videos using the Facebook 360 Spatial Workstation tools. This workshop will go through:
a) What is spatial audio, and why is it important for Immersive videos;
b) Formats and standards that are accepted on popular delivery platforms such as Facebook, Oculus or YouTube;
c) Using plugins in a DAW to author ambisonic mixes that respond to real-time headtracking during runtime;
d) Basic setup for live streaming 360 videos with ambisonic audio;
e) Overview of popular 360 cameras and ambisonic microphones that can be used for linear spatial audio design.
There are two sessions, AM and PM, and space is limited to 35 people in each; this is a ticketed event with a $50 fee for AES members and a $100 fee for non-members. Attendees must preregister for this event and already have a confirmed All Access (not Exhibits Plus) registration for the 145th Convention valid on Friday, October 19th. For additional details and a registration link, please visit the Facebook 360 Training page
Friday, October 19, 10:45 am — 12:15 pm (1E21)
Recording & Production: RP14 - Classical Music Production: Then and Now
Moderator:Theresa Leonard, Freelance Music Producer / Audio Educator - Victoria, BC, Canada
Panelists:
Steve Epstein
David Frost
Leslie Ann Jones, Recording Engineer and Producer, Director of Music Recording and Scoring, Skywalker Sound - San Rafael, CA, USA
John Kilgore, John Kilgore Sound & Recording - New York, NY, USA
Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Judith Sherman
This workshop will look at the changing role of the classical music producer over that past 30 years, the producer's relationship with the engineer, and how changes in technology and recording practice have and will continue to evolve for classical—and more broadly, acoustic—music producer of the future.
Friday, October 19, 10:45 am — 12:15 pm (1E15 +16 SE)
Recording & Production: RP15 - Know It Before You Track It—Guitar Literacy for Recording Engineers
Presenter:Alex Case, University of Massachusetts Lowell - Lowell, MA, USA
Join educator and author Alex U. Case for this technical tour of the musical acoustics, psychoacoustics, and electroacoustics of the guitar. Deeper knowledge of the instrument–acoustic and electric–enables the recordist to communicate and collaborate more effectively with the artist. Mastery of the many elements of guitar tone empowers the engineer to get better sounds more quickly. Develop your own creative recording and mixing strategies for this essential instrument built on these technical foundations.
Friday, October 19, 11:15 am — 11:45 am (1E10)
Archiving & Restoration: AR04 - Recent Advances in Noise Reduction: From Multiband Gates to Machine Learning
Presenter:Alexey Lukin, iZotope, Inc. - Cambridge, MA, USA
Since 1940s single-band and multiband gates dominated the field of static noise reduction in audio signals. FFT processing enabled by digital computers has dramatically increased the number of bands but hasn’t gone far from the multiband gate concept. Recent advances in deep neural nets are able to break free from the multiband gate approach by learning to predict signal features. This talk by iZotope’s Principal DSP Engineer Alexey Lukin will describe company’s evolution of noise reduction algorithms and provide some insights on what the future may bring for the audio engineering community.
Friday, October 19, 12:30 pm — 1:30 pm (1E17 (Surround Rm))
Recording & Production: RP16 - Small Room Studios . . . Are They Here to Stay?
Chair:John Storyk, Walters-Storyk Design Group - Highland, NY, USA
Panelists:
Louis Benedetti, Thompson Studios, NYC - New York, NY, USA; Thompson Studios - NoMad - New York, NY, USA
Pastor Joe Cortese, Studio On The Hill - Bronx, NY, USA
Judy Elliott-Brown, Rocket Science - Surprise, NY, USA
Matt MacPhail, Undisclosed Location Studio - Arlington, VA, USA
Big Studios are back! Big Studios are going extinct!! Small Room Studios are the wave of the future! As with idiosyncratic gear
selection, studio size has and will always be a matter of personal inclination (and budget). 2017 and now 2018 have seen a steady trickle of new studio introductions around the world. From a spectacular high end “Destination Studio” in Belo Horizonte, Brazil, to an innovative satellite studio in midtown Manhattan, studios keep popping up, burning out, and rising from the ashes in different incarnations. This panel will feature new and established studio owners of all stripes and situations. They will explore this constantly shifting but apparently indomitable field of audio endeavor and illustrate the multiplicity of styles available.
Friday, October 19, 1:30 pm — 3:00 pm (1E21)
Recording & Production: RP17 - Music Mixing, Part V
Moderator:Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Panelists:
Pablo Arraya, Audio Piranha LLC - Brooklyn, NY, USA; Purchase College - Purchase, NY, USA
Frank Filipetti, The Living Room - New York, NY, USA
Leslie Ann Jones, Recording Engineer and Producer, Director of Music Recording and Scoring, Skywalker Sound - San Rafael, CA, USA
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
A panel of award-winning expert practitioners from varying backgrounds and genres within the industry will spark interesting discussion and debate. Topics will include the process of mixing, methodologies that have yielded successful results in a constantly changing industry. Focus will include the different ways to approach a mix, how to improve a mix, how to interpret comments from clients. Balancing, processing, and listening will be addressed. Lots of time for Q&A so the audience can engage the panel members. This series has become very popular with young engineers, educators and seasoned professionals.
A continuation of the successful "Mixing Music" workshop series at AES 139 (New York), AES 140 (Paris), and AES 142 (Berlin and AES 143 (NY).
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Friday, October 19, 2:00 pm — 5:00 pm (1E12)
Immersive & Spatial Audio: IS12 - Facebook 360 Training
Presenters:Andres A. Mayo, Andres Mayo Mastering & Audio Post - Buenos Aires, Argentina
Abesh Thakur, Facebook - California, USA
Crash course on the end-to-end workflow for spatial audio design and asset preparation of 360 and 180 immersive videos using the Facebook 360 Spatial Workstation tools. This workshop will go through:
a) What is spatial audio, and why is it important for Immersive videos;
b) Formats and standards that are accepted on popular delivery platforms such as Facebook, Oculus or YouTube;
c) Using plugins in a DAW to author ambisonic mixes that respond to real-time headtracking during runtime;
d) Basic setup for live streaming 360 videos with ambisonic audio;
e) Overview of popular 360 cameras and ambisonic microphones that can be used for linear spatial audio design.
There are two sessions, AM and PM, and space is limited to 35 people in each; this is a ticketed event with a $50 fee for AES members and a $100 fee for non-members. Attendees must preregister for this event and already have a confirmed All Access (not Exhibits Plus) registration for the 145th Convention valid on Friday, October 19th. For additional details and a registration link, please visit the Facebook 360 Training page
Friday, October 19, 2:45 pm — 3:45 pm (1E15 +16 SE)
Special Event: SE12 - Studio Stories—Remastering Jackson Browne's “Running On Empty”
Moderator:Kevin Reeves, VP, Studio Operations North America - UNIVERSAL MUSIC GROUP - New York - Nashville - Los Angeles
Presenters:
Reuben Cohen
Danny Kortchmar, Legendary GRAMMY nominated guitarist, songwriter and producer (Jackson Browne, Don Henley, James Taylor)
Gavin Lurssen
Ron McMaster, Capitol Studios Mastering - Hollywood, CA, USA
This panel focuses on the recently re-mastered release of Jackson Browne’s iconic LP “Running On Empty" on vinyl, the relevance of working on historical recordings, and revamping the aural experience using and vintage and modern mastering techniques to satisfy the current consumer audio expectations for these recordings. The album was recorded and mixed by the late Greg Ladanyi on tour, live and on stage, or in locations such as backstage, on tour busses, and hotel rooms.
Friday, October 19, 3:00 pm — 4:00 pm (1E13)
Archiving & Restoration: AR06 - Preserving Classic Multi-Tracks (like Earth Wind & Fire's “September”) for Use in the Classroom
Presenters:John Krivit, Professional Audio Design - Hanover, MA, USA; Emerson College - Boston, MA, USA
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Eric Schwartz, Partner, Mitchell Silberberg & Knupp LLP, and Member, National Recording Preservation Board – Library of Congress
Toby Seay, Drexel University - Philadelphia, PA, USA
In the wake of the 2018 AES Archiving Conference, a demand was created to make available classic multi-track recordings for educational purposes. Addressed were well-founded concerns that archivists cannot keep up with quantities of decomposing magnetic tape being stored in less than ideal conditions. If tape owners could find opportunity to remonetize original multi-track tapes, they would have incentive to hire archivists, and worries about conservation would be allayed. In proposing an electronic library of classic multitrack master recordings distributed by the AES to educational institutions, the panel will present the pedagogical value of their use, discuss existing arrangements for archiving collections at colleges and unwind the legal and ethical concerns of record companies and copyright holders. Attendees can expect to hear multi-tracks of Earth Wind & Fire’s "September" presented by George Massenburg and David Bowie’s Young Americans as presented by Toby Seay.
Friday, October 19, 3:15 pm — 4:15 pm (1E21)
Recording & Production: RP18 - Creative Process of an Alternative Jazz Album: “The Constant” by Jim Black Trio (Intakt Records, 2016)
Presenters:Amandine Pras, Digital Audio Arts - University of Lethbridge - Lethbridge, Alberta, Canada; School for Advanced Studies in the Social Sciences - Paris, France
Alan Silverman, Arf! Mastering - New York, NY, USA; The Clive Davis Institute of Recorded Music at The Tisch School of the Arts, andNYU|Steinhardt Dept.of Music Technology - New York, NY, USA
Critic Kevin Whitehead (NPR) said that the sound on The Constant has a distinctive edge that “pops out of the speakers”. Recorded, edited and mixed within three days at Water Music Studio by Amandine Pras, and mastered by Alan Silverman, The Constant received the 2016 Best Album Award by critic David Cristol (Jazz Magazine) with a special mention to production.
This workshop will highlight the design of the recording process, which was based on insights into how to best support creative musical improvisation in the studio, drawn from a two-year study within the New York City alternative jazz scene. Just as the music was improvised, so was the mix. Analog mixing without automation was performed on a Neve 8088 which was, in itself, a musical improvisation mirroring drummer Jim Black’s, bassist Thomas Morgan’s and pianist Elias Stemeseder’s music-making process in the studio. Presenters will also detail the combination of layered stereo ambient pickups to capture the natural acoustics of the studio in time-alignment with the close mics that are typical of an East-Coast jazz production. An outline of the mastering approach and Q&A will conclude the workshop.
Additional attention will be given to the challenges faced by women producer/engineers in working with an all-male group of musicians.
Friday, October 19, 4:00 pm — 5:00 pm (1E15 +16 SE)
Archiving & Restoration: AR07 - Preserving the Archives of Major Recording Artists
Moderator:Jessica Thompson, Jessica Thompson Audio - Berkeley, CA, USA
Panelists:
Niko Bolas, The Surf Shack Studio - Ventura, CA USA; Germano Studio - NYC, NY USA
Brad Mindich, Founder/CEO Inveniem
Susan Rogers, Berklee College of Music - Boston, MA, USA
Steve Rosenthal, MARS ( MagicShop Archive and Restoration Studios - Brooklyn, NY, USA
Aretha Franklin, David Bowie, Lou Reed, Merle Haggard, Tom Petty - these past few years, we’ve lost too many major recording artists to list. They leave behind their legacy as artists and performers as well as vaults filled with recordings, demos, sketches, unfinished projects, documents, and more. This panel will address the challenges of dealing with the archives of major recording artists.
Susan Rogers (Berklee, Prince, Barenaked Ladies), Brad Mindich (CEO, Inveniem), engineer/producer Niko Bolas (Neil Young, LeAnn Rimes, The Mavericks), and engineer/producer/archivist Steve Rosenthal (MARS, Lou Reed, Blondie) will share their memories of working in the studio with major artists and discuss the formidable issues around archiving and preservation. They will speak to the technical challenges of identifying and digitizing decades of analog and digital formats, the legal obstacles, and the question of when and how to curate new releases from archival materials.
Friday, October 19, 4:30 pm — 5:45 pm (1E21)
Recording & Production: RP13 - Road Stories: David Hewitt and dB Brown
Moderator:Mark Rubel, The Blackbird Academy - Nashville, TN, USA; Pogo Studio - Nashville, TN, USA
Panelists:
Daryl Bornstein, Daryl Bornstein Audio - North Salem, NY, USA
Jack Douglas
David Hewitt
Jay Messina
David Hewitt and dB Brown crisscrossed the United States, Canada, and beyond in a series of remote recording trucks, initially for the Record Plant. They recorded such historic artists and events as Live Aid, Farm Aid, Watkins Glen and other festivals, Simon and Garfunkel in Central Park, U2, Prince's Purple Rain, The Rolling Stones, Bruce Springsteen, Frank Sinatra, Earth, Wind and Fire, The Grateful Dead, and countless others. Join us for an hour and fifteen minutes of storytelling, technical investigation, possibly the playing of some live multitrack recordings, and wisdom from a pair who have been there. Moderated by Mark Rubel.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Friday, October 19, 4:30 pm — 5:45 pm (1E09)
Product Development: PD14 - Audio Source Separation—Recent Advancement, Applications, and Evaluation
Chair:Chungeun Kim, University of Surrey - Guildford, Surrey, UK; Sony Interactive Entertainment Europe - London, UK
Panelists:
Jon Francombe, BBC Research and Development - Salford, UK
Nima Mesgarani, Columbia University - New York, NY, USA
Bryan Pardo, Northwestern University - Evanston, IL, USA
Audio source separation is one of the signal processing techniques inspired by the humans' corresponding cognitive ability in auditory scene analysis. It has a wide range of applications including speech enhancement, sound event detection, and repurposing. Although initially it used to be only possible to separate the sources in very specific capturing configurations, only to a suboptimal level of quality, advanced signal processing techniques, particularly deep learning-related approaches, have both widened the applicability and enhanced the performance of source separation. In this workshop the recent advancement of source separation techniques in various use-cases will be discussed, along with the challenges that the research community is currently facing. Also, research activities on the quality aspects specific to source separation towards effective performance evaluation will be introduced.
| This session is presented in association with the AES Technical Committee on Semantic Audio Analysis |
Friday, October 19, 5:15 pm — 5:45 pm (1E07)
Recording & Production: RP19 - The Decca Tree: An In-Depth Historical Examination of its Origins and Development
Presenter:Michael Gray, classical-discography.org - Alexandria, VA
The Decca Tree is widely used by audio engineers throughout the world. Though the current configuration of the "Tree" is well-understood today, its history is not. Via archival drawings, diagrams, and photographs, this tutorial will chronicle the birth and development of the "Tree." It will show how different balance engineers changed the Tree's microphones and their configurations as they sought to find the sound they wanted. Finally, it will place the Tree in the evolution of what became known as “The Decca Sound.”
Friday, October 19, 6:30 pm — 8:30 pm (Off-Site 2)
Historical: H07 - "Company": A Commentary
Presenter:Dan Mortensen, Dansound Inc. - Seattle, WA, USA; Friends of the 30th Street Studio - Seattle, WA, USA
6:30 – 8:30 at the Dolby Screening Room
This will be a showing of the D. A. Pennebaker documentary of the making of the Original Cast Recording of the 1970 Stephen Sondheim musical. It was almost entirely shot in Columbia Records' 30th Street Studio and is the best visual tour of the studio that exists. The recording process of the show is shown in detail, as are the trials, tribulations, and joys of all involved as they proceed and/or stumble through every part of that process.
We will listen to a commentary by 12-time Grammy winner Thomas Z. Shepard, original producer of the recording and featured in the movie, and Dan Mortensen, 30th Street Studio researcher. Other guests TBA.
This event will be at the Dolby Theater. Doors will be at 6:15 pm, program will start at 6:45 pm and end at 8:30. We must be completely out of the room by 9:00 pm.
No food or drink other than water allowed in theater.
This will be a ticketed event (available in the Dolby Demo room)
Saturday, October 20, 9:00 am — 10:00 am (1E10)
Immersive & Spatial Audio: IS13 - Canceled
Saturday, October 20, 9:30 am — 10:30 am (1E08)
Game Audio & XR: GA13 - Get Inside the Music: Connecting Artists and Audiences through Interactive Music Apps
Presenters:Justin Paterson, London College of Music, University of West London - London, UK
Rob Toulson, University of Westminster - London, UK
Commercial artists are nowadays empowered to invite listeners deeper inside their music through interactive music apps incorporating gameplay, stem mixers, alternative content, and production/remix features. Bjork, Peter Gabriel, and Massive Attack, for example, have all launched interactive music albums in recent years. The tutorial presenters have also been at the forefront of this movement, collaborating with record labels and music artists to evaluate the commercial and creative opportunities of interactive music.
This tutorial will present a history of interactive music and will demonstrate future audience listening-experiences. Relevant mobile programming interfaces will be discussed alongside the music production workflow for developing interactive music applications. This insight is intended to inspire developers and students to consider their own ideas for engaging listeners more actively with recorded music.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Saturday, October 20, 9:45 am — 11:15 am (1E21)
Recording & Production: RP21 - Era-Shifting Recording with David Kalmusky
Moderator:Mark Rubel, The Blackbird Academy - Nashville, TN, USA; Pogo Studio - Nashville, TN, USA
Presenter:
David Kalmusky, Addiction Sound Studios - Nashville, TN, USA
Acclaimed Nashville-based producer/engineer/artist David Kalmusky (Journey, Keith Urban, John Oates, Vince Gill, Shawn Mendes, etc.) was asked to record a version of “Amazing Grace” for the documentary film Met While Incarcerated. Kalmusky set himself a fascinating challenge: parallel recording of the same music using different eras of recording technology and musical approaches, which can be cross-faded and blended together. The song, band, and performances "time travel" between 1947 record cutting, 1962 open room recording, 1976 vari-speeded tape, 1984 synthesizers, and current technology (Pro Tools, Elastic Audio, etc.) In a far-ranging conversation with Mark Rubel, David Kalmusky will explain the various instruments, microphones, techniques and media used, and demonstrate and play the musical results of this unique process.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Saturday, October 20, 10:45 am — 12:15 pm (1E15 +16 SE)
Special Event: SE15 - Platinum Mastering—Past, Present, Future: Changes in Audio Mastering Technology/Aesthetics
Presenters:Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Andres A. Mayo, Andres Mayo Mastering & Audio Post - Buenos Aires, Argentina
Ron McMaster, Capitol Studios Mastering - Hollywood, CA, USA
The world of mastering changed dramatically in the past 10+ years due to two facts:
—Music production became a global business, with modern productions involving far more virtual collaborations than physical meetings
—Streaming changed the rules again and led artists to produce singles, much more than entire albums.
So now, mastering just one song for a producer on the other side of the world that you will never meet in person became regular business. How do mastering engineers face these completely new challenges? How do they stand up in the myriad of mastering studios worldwide offering similar services in online platforms? What are the new parameters to consider in order to be competitive?
Saturday, October 20, 10:45 am — 1:00 pm (1E06 (Immersive/PMC Rm))
Recording & Production: RP22 - Planning for On-Location Audio Recording and Production (including Surround)
Presenters:Alex Kosiorek, Central Sound at Arizona PBS - Phoenix, AZ, USA
Steve Remote, Aura-Sonic Ltd. - NYC, NY USA
Corey Schreppel, Minnesota Public Radio|American Public Media
George Wellington, New York Public Radio - New York, NY, USA
Eric Xu, Central Sound at Arizona PBS - Phoenix, AZ, USA
Artists and engineers are recording more productions on-location or in locations other than the studio. Whether it’s audio for spoken word, chorus, small chamber ensembles to large symphony orchestra, or complex jazz/pop/rock shows involving splits from FOH, pre-production is a critical aspect of any remote recording. Moreover, with new forms of immersive delivery on the horizon, surround production is now part of this equation. Some of the challenges for on-location include maintaining a consistent aesthetic across productions, varying venue acoustics, discretion of microphone placement, monitoring, and redundant backup systems. In this workshop, today’s working professionals will give relatable and practical methods of tackling production for mobile/on-location events and discuss how it differs from studio recording. Such topics include venue scoping, bids and quotes, stage plots, communication with venue or ensemble production managers, talent coordination, and other logistics. Some audio examples (including those in surround) will be included.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Saturday, October 20, 11:30 am — 12:30 pm (1E10)
Immersive & Spatial Audio: IS14 - 3D Audio Philosophies & Techniques for Commercial Music
Presenter:Bt Gibbs, Skyline Entertainment and Publishing - Morgan Hill, CA, USA; Tool Shed Studios - Morgan Hill, CA, USA
As 3D Audio (360 Spatial) grows, the majority of content remains in the animated VR world. Commercial audio (in all genres) continues to be delivered across streaming and download platforms in L+R stereo audio. With the binaural delivery options for spatial audio rapidly improving, commercial audio options are being underserved. The ability for commercial artists to deliver studio quality audio (if not MQA) to consumers with an "in-the-studio" experience is at hand. This presentation will demonstrate studio sessions delivered in 360 video and 360 audio, which was simultaneously captured for standard stereo delivery through traditional streaming and download sites. All of this being delivered in a simultaneous, and rapid, turn around from pre-production to final masters delivered on both 360 and stereo platforms.
Saturday, October 20, 1:15 pm — 3:15 pm (1E06 (Immersive/PMC Rm))
Immersive & Spatial Audio: IS15 - 3D Audio Acoustic Recording Capture, Dissemination, and Perception
Presenters:David Bowles, Swineshead Productions LLC - Berkeley, CA, USA
Paul Geluso, New York University - New York, NY, USA
Hyunkook Lee, University of Huddersfield - Huddersfield, UK
Agnieszka Roginska, New York University - New York, NY, USA
A panel discussion on recording techniques for capturing and disseminating 3D acoustic music recordings, with an emphasis on psychoacoustic and perceptual challenges. The 90-minute panel will be immediately followed by a 90-minute playback session. Q&A will be during the panel, but after the playback [in order to allow audience to experience playback without interruptions]
Saturday, October 20, 1:30 pm — 2:30 pm (1E21)
Recording & Production: RP23 - Creating Sounds from Scratch - Creative Sound Design for Music Production
Presenters:Scott B. Metcalfe, Peabody Conservatory, Johns Hopkins - Severna Park, MD, USA; Baltimore, MD, USA
Andrea Pejrolo, Berklee College of Music - Boston, MA, USA
In this hands on presentation you will learn how to create original sounds and patches in order to add a fresh touch to your productions. Based on practical examples and contemporary production techniques Andrea Pejrolo and Scott Metcalfe will guide you through the theory and the practical aspects of original sound design for the modern producer and composer.
Through practical examples you will learn how to: • Choose some of the best software synthesizers for music production; • Pick the best tools for creating specific types of patches; • Create completely original sounds based on different types of synthesis such as sampling, FM, additive, granular, and more.
Saturday, October 20, 3:00 pm — 4:00 pm (1E21)
Recording & Production: RP24 - From Studio to Stage—The Impact of Technology on Live Production
Presenters:Erin Barra, Berklee College of Music - Boston, MA, USA; MAMMA BARRA
DJ Nebraska, Jessie Davis Music - Brooklyn, NY, USA
DJ Raydar Ellis, Berklee College of Music - New York, NY, USA
Paul "Willie Green" Womack, Willie Green Music - Brooklyn, NY, USA
Advancements in technology and software have transformed the live performances of DJs, looping artists, and producers. DAWs and samplers do not live solely in the domain of the studio, rather they have become the instruments of live performers across the globe. This round-table discussion will explore the changing workflows and evolving capabilities of technology-based artists.