John Storyk is well-known for his work in studio design.
Kunimaro Tanaka is well known for his pioneering contributions to digital audio recording technology and standards. Tanaka was on the design team who developed the first professional digital 2-channel stationery head tape recorder while at Mitsubishi Electric Corp.
Peter Tappan enjoyed a long career as an acoustical consultant whose countless electronic sound reinforcement and playback systems are enjoyed around the world.
Joseph Tarsia is an engineer and the founder/president of Sigma Sound Studios.
Carson Taylor was an engineer and producer at Capitol Records.
Anatomy of Theater Sound Design
Basics of sound design in theatre, with a focus on solving the challenges of working in architecture that pre-dates sound reinforcement.
Bill Whitlock was President of Jensen Transformers.
Diversity Town Hall
This Town Hall introduces the recently formed AES Diversity and Inclusion Committee and gives AES members a chance to have a meaningful discussion about the committee's purpose. The Committee efforts will include women and other underrepresented groups, as well as students and young audio professionals working in newer music genres and/or audio fields.
A recipient of the 2008 Custom Electronic Design & Installation Association (CEDIA) Lifetime Achievement Award, Dr. Floyd Toole is a 40-year pioneer in the acoustics field, widely known for his research on small room acoustics, relating measurements to a listener's perceptions.
Fei Yu: Gateways to the East — Music and Recording Techniques for Chinese Video Games
Fei Yu discusses the challenges and triumphs of communicating and collaborating from across the world, the technology of recording for Chinese-Western style music, the creative process, strategies for working with ethnic soloists to create authentic world sound, and recording strategies for combining orchestra with soloists for the online game Revelation.
Han Tendeloo was the AES Secretary for many years and was a design engineer at Philips, who succeeded Johan L. Ooms upon his retirement in 1973. He was instrumental in the development of the CD and the construction of the facilities needed to produce them.
The Art and Science of Foley
Workshop with to the Emmy award winning Foley team from Alchemy Post Sound about how they create organic sounds from a technical and artistic perspective.
Robert A. Orban was heavily involved in Signal Processing.
Immersive Audio for VR Workflow
Ways of thinking through the creative process and applications workflows for immersive audio in VR are surfacing and evolving, making this a very exciting time to be a content creator.
Dr. John Vanderkooy was the AES Journal Editor and is a physics professor at University of Waterloo in Waterloo, Ontario, Canada. He is one of the founding members of the Audio Research Group at the University.
James E. Webb Jr. was a Production Sound Recordist, Mixer, and Supervising Sound Editor for many well-known popular and documentary films.
Rein Narma was a design engineer at Fairchild / Ampex.
Daniel von Recklinghausen
Daniel von Recklinghausen brought hi-fi into the living rooms of America in the early 50s as the Chief Research Engineer at H.H.Scott from 1946 through 1966. He was a major force in the development and popularization of quality FM radio through the use of wide-band circuit design.
Johan van der Werff
Johan Van De Werff was an electro-acoustical consultant at Peutz & Associates.
Bill Windsor was involved in early console design.
Hermann A.O. Wilms
Hermann A.O. Wilms was a researcher in room acoustics and later received the AES Distinguished Service Medal Award in 2007 for more than 35 years of dedicated service to the AES, and to the European region, and conventions in particular.
Cornelis H. van der Gragt
Cornelis H. van de Gragt was a producer and recording engineer for Dutch Broadcasting. His focus is on knowledge of music among engineers. He was also an educator at the Royal Conservatory of Music in The Hague.
Having degrees in both music and science, Emil Torick had a lifelong interest in both fields. In 1958, he embarked on a 28-year association with CBS Laboratories in Stamford, CT where he was awarded 16 U.S. patents and authored more than 60 technical articles.
David Sarser was a Producer and Musician and worked at Ampex.
Jack Renner was a producer and engineer at Telarc Records.
Don Puluse is an engineer and the former chair of the Music Production & Engineering Department at Berklee College of Music.
After four years with the BBC as a telecine and video tape recorder design engineer, David Robinson joined Dolby Laboratories in 1966 just after the company was established in the UK. He became Dolby's Chief Engineer and later Vice President of Engineering when the company moved headquarters to San Francisco.
Manfred R. Schroeder
Responsible for many developments at Bell Laboratories, Manfred Schroeder has improved the acoustic design of concert halls around the world, including Philharmonic Hall at Lincoln Center.
Subir K. Pramanik
Subir K. Pramanik was instrumental in the introduction of aesthetics to Bang & Olufsen products. He served as the AES International President from 1993-1995, as President from 1997-1998, and on the Board of Governors from 1999-2001.
Cor L. Doesburg
Cor L. Doesburg was an Audio Broadcast Manager at Dutch Broadcasting, where he developed and supervised a department of 276 employees.
Well known for his work in FM, AM, and television audio systems, Richard Burden had an early interest in science and graduated from RCA Institute in 1952. Mr. Burden has been an independent communications engineer since 1960, providing technical services to numerous radio and TV stations, networks, and manufacturers for many years.
Robert Z. Langevin
A charter member of the AES, Robert Langevin was always fascinated with tape recording technology. He joined the Ampex Corporation engineering department in 1951 as inspection and test engineer for instrumentation and audio tape recorder products. In 1960 he founded Vega Electronics.
Michael L. Dorrough
Michael L. Dorrough was an audio innovator and broadcast industry pioneer, a prominent member of the ham radio community (KO6NM), and an expert on AM modulation techniques. Founder and president of Dorrough Electronics which designs and manufactures digital audio and video monitoring devices.
Richard Factor, a self-taught electronics engineer and avid ham radio enthusiast is the Co-Founder and CEO of Eventide, Inc. (1971). Eventide designed and built some of the first commercially available digital audio equipment including the first HarmonizerR - The first digital pitch-changer suitable for studio use.
Frank D. Laico
Recording Engineer for Columbia Records. Associated with Columbia 30th Street Studio, Studio C, known as "The Church". One of the first engineers to use natural room ambience and natural echo in an aesthetic way.
Mort Fujii was involved with tape recording and R&D at Ampex.
Bob Mack was a recording engineer at RCA.
In 1961 'Ham' was recruited by the Scully Corporation, where he advanced to vice president before leaving in the early 70s to form Audio Techniques, building/marketing pro audio equipment.
Grammy Award winning mastering engineer Bob Ludwig started as an assistant to Phil Ramone. His mastering skills were constantly in demand at major recording labels for many famous artists, both classical and rock. He is the founder of Gateway Mastering, in Portland, Maine.
Kees A.S. Immink
Kornelis Antonie (Kees) Schouhamer Immink was born in Rotterdam, Holland and is known as the "Father of the CD." A scientist, inventor, and entrepreneur, who pioneered and advanced the era of digital audio, video, and data recording including the CD, DVD and Blu-Ray Disc.
Tom Magchielse was an audio expert for Dutch Broadcasting Laboratories. Participated in everything from microphone design and construction to room acoustics throughout Dutch Broadcasting's development.
Dale C. Manquen
Dale C. Manquen was involved with tape recorders at Ampex / 3M.
George Massenburg has participated (individually and collaboratively) in over four hundred records over the past 45 years and invented the parametric EQ.
Chris Stone has worked at Record Plant Studios and Motown Records. He is a writer and educator.
Known as the "father of festival sound", Bill Hanley is best known for designing, building, installing, and operating the sound system used at the 1969 Woodstock Music and Arts Fair.
David Griesinger worked for Lexicon, Inc. and now runs David Griesinger Acoustics.
Acoustics on a Budget
Achieving good acoustics in the studio is one of the most challenging tasks for an audio engineer, particularly when working on a limited budget. This tutorial will give a brief review of room acoustic requirements for project studios. The presentation includes practical tips on how to improve acoustic performance using common sense and commonly available low-cost materials.
Andres Mayo: The Growing Importance of Mastering in the Home Studio Era
Artists and producers are widely using their home studios for music production, with a better cost/benefit ratio. But they usually lack technical resources and the acoustic response of their rooms is unknown. Therefore, there is greater need for a professional mastering service in order to achieve the so-called "standard commercial quality."
Antonio Moreno: ASR - Automatic Speaker Recognition
This tutorial gives an overview of ASR, Automatic Speaker Recognition. Special attention on parameters applied, the kind of speech segmentation applied, redundancy of the systems, hardware requirements, implementation in portable systems, the hit-rate, etc. The intention of the presentation is to be educational.
Arne Nykanen: User-Centered Agile Game Sound Design
Good game sound or interactive sound design is often determined by the work processes used. This tutorial will take a comprehensive view on how experience from psychoacoustics, industrial design, user-centered design, agile software development, and computer games design can be merged to arrive at good sound design practices. Based on this review, a user-centered agile sound design practice is proposed.
Auro-3D Formats and Technologies - An Overview
The audio world has recently seen the advent of several new audio formats, each claiming to bring a new three dimensional, immersive sound or “Surround with Height” listening experience to the listener. As a result several organizations are working on a standard for Immersive Sound, incorporating channel-based and/or object-based audio capabilities.
Ben Kok: Small Room Acoustics
Acoustic basics of small rooms will be discussed. Specific issues related to the size of the room (room-modes) will be addressed. Absorption, reflection, diffraction, diffusion and how to use it, and low frequency treatment. Although this will not be a studio design class, specifics and differences of recording rooms and control rooms will be identified, including considerations for loudspeaker and microphone placement.
Bill Whitlock: Audio System Grounding & Interfacing—An Overview
Although the subject has a black art reputation, this tutorial replaces myth and hype with insight and knowledge, revealing the true causes of system noise and ground loops. Although safety must be the top priority, some widely used cures are both illegal and deadly. Both balanced and unbalanced interfaces are vulnerable to noise coupling, but the unbalanced interface is exquisitely so due to an intrinsic problem.
Binaural Applications with Auro-3D Immersive Sound
Auro-3D, and Immersive Sound in general, bring a new exciting listening experience to the audience on various reproduction systems. Binaural processing allows to playback immersive sound on headphones by applying the necessary filters to recreate the directional cues related to the various speaker and/or object positions in the 3D auditory space.
Blu-ray—The Next (And Only?) Chance for High Resolution Music Media
The concept of utilizing Blu-ray as a pure audio format will be explained, and Blu-ray will be positioned as successor to both SACD and DVD-A. The operational functionality and a double concept of making it usable both with and without screen will be demonstrated by showing a few products that are already on the market.
Bob Schulein: Binaural Audio Technology—History, Current Practice, and Emerging Trends
Interest in binaural recording and reproduction has grown in areas such as sound field recording, acoustic research, sound field simulation, audio for electronic games, music listening, and artificial reality. This tutorial will cover the underlying principles germane to binaural perception, simulation, recording, and reproduction. It will include live demonstrations as well as recorded audio/visual examples.
Bruno Putzeys: A Universal Grammar of Class D Audio Amplification
At first sight, class D amplifiers exhibit a baffling array of disjoint design philosophies and topologies. Yet, all of these can be seen as permutations of the same basic structure. This Master Class explores the “universal grammar of class D audio amplification:" the building blocks and design choices underlying all class D designs, like power stage topology, loop control strategy, and modulation method.
Chris Woolf: Sync and Timecode—Bricks Not Tricks
Synchronization and timecode—intimately connected but not to be confused with each other—form the time-axis shells of buildings within which most sound practitioners must house their work. Rules-of-thumb, tricks-that-seem-to-work, and even blind faith often support rather shaky structures so this tutorial provides some underpinning: a foundation of solid bricks.
Christopher J. Struck: Earphones, Headphones, and Headsets: Electroacoustic Design & Verification
This presentation reviews basic the electroacoustic concepts of gain, sensitivity, sound fields, linear and non-linear systems, and test signals for ear-worn devices. The Insertion Gain concept is explained and free and diffuse field target responses are shown. Equivalent volume and acoustic impedance are defined. Ear simulators and test manikins appropriate for Circum-, Supra-, and Intra-aural and insert earphones are presented.
Dan Dugan is most recognized for his patented invention of the automatic microphone mixer, used everywhere from the U.S. Supreme Court to the David Letterman Show.
Diemer de Vries: Large Room Acoustics
In the tutorial the physical principles of room acoustics will be explained. It will be explained how, by measuring or calculating impulse responses along arrays of receiver positions, the temporal and spatial properties of a sound field can be analyzed and understood, and how these properties are related to perceptual quality cues.
Dietrich Schüller: Sound Archiving
The world's audio heritage is estimated to amount to 100 million hours of recorded documents. A considerable part is at severe risk of not surviving in the long-term, as it is still kept on analog or digital single carriers, which sooner or later are prone to deterioration. An even greater threat is the fast withdrawal from the manufacture of specific replay equipment and spare parts.
Douglas Self: Linear Audio Power Amplification
Audio power amplifiers are one of the few fields where analog still has the upper hand when high quality is required. In this presentation I will review some of the configurations available and examine their advantages and otherwise. The classical amplifier configuration still remains extremely useful and is capable of very good results in terms of linearity when the design details are handled properly.
Eddy B. Brixen: Audio Forensics—What's It All About?
Working with audio forensics is serious business. Depending on the work of the forensics engineer, people may eventually end up in prison. This tutorial will present the kind of work related to the field. This covers fields as acoustics, when audio analysis can be a part of the crime scene investigation, and cleaning of audio recordings and providing transcriptions.
Hervé Dejardin: "Sequences" - The Live Production of Electronic Music for Surround Reproduction
Presentation of the production "Séquences." How were the audio tracks recorded, mixed, and distributed as a series of 13 live electronic music videos in 5.1 and binaural, filmed in 360°, and composed entirely on machines? We will present the problems that appeared at different stages of production. The recording, post production, spatial design, the reverb., etc., will be discussed; and during the tutorial, binaural examples will be played for everybody to hear on headphones.
Jamie Angus: Go on! Surprise Me! An introduction to Audio and Video Coding
Coded Audio is an essential part of modern audio distribution, such as the internet, film, etc. But how does it work? What is it about a signal that can allow you to reduce its data rate without loss, as in “Lossless Coding”? How can one take advantage of human perception when one does lossy coding such as mpeg?
Jamie Angus: How to Do Audio Sampling, and Sample Rate Conversion, Properly!
Sampling, and sample rate conversion, are critical processes in digital audio. The analogue signal must be sampled, so that it can be quantized into a digital word. In addition digital audio signals are often converted between sample rates, either as part of the conversion process, for mastering to a particular audio format, or varispeed playback. How does sampling affect the audio signal?
Jens Blauert: Concepts In Sound Quality
The lecture presents a fundamental consideration of the nature of sound quality and offers ways for structuring different aspects of it. It aims at making audio engineers more aware of the various components and complex processes involved in the formation of sound-quality judgments. Thinking of sound quality means thinking of percepts, which brings subjectivity to the fore.
This tutorial was presented in 3 parts: Stephan Peus discussed "35 Years of Microphone Development at Neumann—What Touched Us, What Moved Us." Ulrich Apel reported on "The Importance of Vacuum for Condenser Microphones." Sean Davies presented on "Microphone History: The Why, The How, and The Who."
Neville Thiele & Richard Small: Loudspeaker Parameters
The loudspeaker parameters provide a procedure that is now established universally for specifying loudspeaker drivers and designing their enclosures and associated equalizers. Their derivation and measurement involves simplifications and approximations to what is, in fact, a complex acoustical/mechanical/electrical system.
Nuno Fonseca: All You Need to Know about 3D Audio
Although most 3D audio concepts already exist for decades, the interest in 3D audio has increased in recent years, with the new immersive formats for cinema or the rebirth of Virtual Reality (VR). This tutorial will present the most common 3D audio concepts, formats, and technologies, allowing you to finally understand buzzwords like Ambisonics/HOA, Binaural, HRTF/HRIR, channel-based audio, object-based audio, Dolby Atmos, Auro 3D/Auromax, etc.
Parametric Spatial Audio Processing: An Overview and Recent Advances
Parametric spatial processing is a promising and emerging technique that is fundamentally different from traditional spatial processing techniques. First, a relatively simple sound field model is adopted and the parameters of the model (such as for example the direction of arrival and diffuseness), are estimated in a time-frequency domain. Second, the estimated parameters are used to process the received microphone signals.
Perceptual Audio Evaluation
The aim of this tutorial is to provide an overview of perceptual evaluation of audio through listening tests, based on good practices in the audio and affiliated industries. The tutorial is geared to anyone interested in the evaluation of audio quality and will provide a highly condensed overview of all aspects of performing listening tests in a robust manner.
Eric Daniel was involved with magnetic recording at BBC, NBC, and Ampex.
D.B. Keele, Jr.
D.B. (also known as Don) Keele Jr. is best known for his work with EV in the 1970s.
E.L. Grayson was a sales executive at Daven Corp.
Robin C. Caine
Robin C. Caine of Pro-Bel Ltd. has been active in AES conferences and broadcast standards committee work and for many years and has published numerous AES and IEEE articles on broadcast facility digital signal distribution and control systems.
Stefan de Koning
During his career at a number of departments within Philips in Eindhoven, Holland, Stefan de Koning conducted pioneering development work on sound reinforcement systems in general, and ambiophonic room acoustics enhancement systems in particular for over 30 years.
This is a fascinating look into the life of an extraordinary inventor who developed relationships with many leaders in the audio and electronics industries.
Henk De Wit
Henk de Wit was a recording and broadcast engineer for Dutch Broadcasting.
Per V. Bruel
Per V. Bruel was involved with acoustic measurements.
Bill Cara was involved with sales at Ampex and JBL.
This is a must-see interview with one of the most prolific recording engineers of our time. Frank Abbey was with Capitol Records, N.Y. for many years, and tells fascinating stories about his work with many of the big names familiar to us all.
David Blackmer founded dbx, Inc. in 1971 to produce his famous dbx expansion-compression noise reduction products.
Julius Konins was involved in the development of Compact Cassette Duplication.
Louis Goodfriend was an acoustical consultant and the first editor of the AES Journal (1953 - 1954). An early proponent of forming a working coalition between acoustic designers, acoustic engineers and recording engineers.
Rolf Meyer was the President of Marketing & Sales at Sennheiser Electronics.
Jean Bonzon was the studio manager at Polygram France.
Walter Selsted worked for many years at Ampex, and later worked for HP managing a new magnetic tape recorder product group.
Dave L. Hewitt
One of the most accomplished remote recording engineers over the past 37 years, David has received multiple TEC awards, Grammys, Emmys, and Cinema Audio awards for his work as a live recording and broadcast engineer, and film sound mixer.
While working for Polygram, Alex Balster helped develop technology that enabled CDs to store and reproduce music.
Clair Krepps was a recording engineer at Capitol, Mayfair Studios, MGM, and Atlantic.
On the Road with Murphy: Who's Laughing Now
Stories of Humor and Irony from Touring with Mr. Murphy: How Tony Bennett's monitors got flown and other true stories of ‘gettin’ ‘er done’ on the road when the show must go on.
Choosing the Right Vocal Mic
Selecting the best microphone for a vocalist involves gauging the singer, the environment and the material, matching a model to a stage, a voice and a musical genre, as well as tips for working with vocalists.
Easy Live Recording for Virtual Soundcheck
Multi-track recording live shows has never been easier or more affordable. Modern live consoles easily record individual channels of live shows with a single cable and then play them back through the console the next day.
Latin Producers Panel (AES Los Angeles 2016)
The Audio Engineering Society brings together the top-notch music producers and engineers from the Latin scene. Multiple Grammy-winning pros will present an in-depth look at their latest recordings and will open the debate for Q&A from the audience.
141st Convention Opening Ceremonies / Awards / Keynote Speech
The AES presents Special Awards to those who have made outstanding contributions to the Society in such areas of research, scholarship, and publications, as well as other accomplishments that have contributed to the enhancement of our industry. This year's keynote speaker is Ron Jones. The title of his talk is "Remember the Human Receptor on the Road to the Future."
The Special Sauce for Mixing a Hit Record
Producer Fab Dupont (Mark Ronson, Jennifer Lopez) walks through one of today’s hottest tracks with esteemed mix engineer Ryan Hewitt (Red Hot Chili Peppers, The Lumineers). Hear how the pros bring that "special sauce" to crafting a hit.
Safe Sound & IEM Fundamentals
In-ear monitors provide many benefits, but there’s no guarantee they can save performers’ hearing. This discussion between Mark Frink and Michael Santucci examines the physiology of hearing and fundamentals of in-ear monitoring that can help with hearing conservation.
Greg Stryke Chin: Cloud Collaboration in Pro Tools
With the cloud now a practical vehicle for storage, sharing and working interactively, this session looks at how cloud computing tools enable a new era of collaboration. Greg Stryke Chin explains, with Avid’s Pro Tools as a vehicle for his demonstrations.
Mark Rush: Worship Production: Division of Labor
The spheres of skills in a Worship Tech Team establishes the Audio Division of Labor and determines the scope of each member’s role in audio production. This ability-based method of appropriate roles for audio tech teammates builds skills and confidence. Covers mute groups, VCAs, and apps.
Craig Anderton: How to Make Your Recorded Vocals at Least Twice as Good!
Vocals are what links your soul to your listener, so you don’t want anything to get in the way—and you don’t want to crush your soul with processing, either. Find out how to make your recorded vocals sound at least twice as good through a variety of innovative techniques that polish your vocal, enhance clarity, and reduce the need for processors, with an emphasis on retaining the human qualities that make for a compelling vocal performance.
Entertainment RF: Moving Target
UHF TV spectrum shared by entertainment wireless as secondary users is in the process of being reduced for the second time in as many decades through voluntary auctions that will reduce UHF spectrum by over 100 MHz, rendering equipment operating in the 600 MHz bands (and below) obsolete in a few years. Our experts examine what to expect and when to expect it.
Shed & Arena Optimization: Sides & Subs
Today’s touring speakers sound amazing, but two problems must be conquered in typical shed and arena venues: the interaction of the mains and the side arrays and the management of low end supplemented with subwoofers driven from an auxiliary send. This session examines solutions for large venue applications.
Sam Inglis: Beyond EQ & Compression
Today's plug-in folders are bursting with transient shapers, dynamic equalizers, frequency-dependent dynamics, harmonic enhancement, spectral editors and even faders that write their own automation. When, why and how should you go beyond conventional EQ and dynamics? Taking universal mix issues and real-world situations as examples, Sam Inglis explains how to bring these cutting-edge software processors to bear in your studio.
Howard Page: Shelf the Lows: Time to Kill the Subs?
Subwoofers in sound reinforcement overpower the main mix to the point of distraction at many large-scale live concert events in recent history. Howard Page examines the role and of subwoofers and a means of taming them.
Thomas Lund: The Tipping Point
Thomas Lund presents the latest about ideal leveling for platforms such as Tidal, Spotify, iTunes, YouTube and TV. This presentation also details EBU, AES, Nordic Dynamic and mobile device standards, and addresses loudness-savvy alignment and calibration of loudspeakers in pro.
Brunching with Bonzai
Industry media mainstay Mr. Bonzai and his special guests, Jack & Blake Douglas kick-off the AES Special Events calendar with a first-morning wake-up dialog, talking music, motivation, and music industry trends and prognostications
Mike Senior: Mixing Secrets: Production Tricks to Use with Any DAW (Los Angeles 2016)
Mike Senior suggests methods to develop effective habits with regard to studio monitoring, mix balancing, and quality control. Important techniques in each of these three areas are often neglected in small-scale productions, leading to mixes that don't stack up against professional releases, or that collapse on some mass-market listening systems.
The Grand Mother: Miking the Piano
The grand piano is the Mother of Musical Creation, every singer’s lover and the heart of most genres, yet it’s often replaced by synthesizers due to its inconvenient size and a propensity to resonate with adjacent sounds. Discover the right way to record this instrument with this video.
Craig Anderton: How to Get Great Sounds from Amp Sims
If you like amp sims that sound harsh and cold, you can skip this video. But if you prefer warm, creamy amps that respond to the way you play, this video shows how placing certain effects before and after a sim, in addition to specific amp sim techniques, can make playing with amp sims an inspiring experience—and let you create effects that would be difficult, if not impossible, to realize with conventional hardware.
Live Mixing Academy - Monitor Mixing Apps
Remote control allows a dual-function console to be operated by two or more users to make adjustments from meaningful locations, in the house or on stage, replacing personal mixers or a second console.
Larry Crane: Using Noise Reduction Software for Tracking and Mixing Music
Noise Reduction and Spectral Editing software has come a long way in performance and price in recent years, and are no longer only tools for post-production and audio forensics. In this presentation, Tape Op editor Larry Crane shows you how to use this software to repair and prep sources for mixing, including vocals, acoustic guitars, piano, drums, bass, amplifiers, organs, and more.
Living the Dream: Project Studios at Both Ends of the Spectrum. Why We Still Want Them and WHY We Still Need Them
Synthesizers, laptops, iPhones, Plug-Ins, VR, AR, 3D Audio … Where will this all end up? One thing appears certain—the Project Studio continues to be in demand; continues to be re-defined; and continues to be the Studio of Choice for a large percentage of the audio creation community. The need for small, comfortable, acoustically flexible audio production environments has not diminished in the face of proliferating digital/laptop recording options. But certain basics and certain concerns are still with us and we want to be reminded of them.
Robert Scovill: Live Mixing Academy - Console Layout & Workflow
Robert Scovill covers taking a band from concept to rehearsal stage, beginning with a roster of musicians, building an input list and laying it out not only for for easy operation, but to fit into festivals and fly-in situations. Also covered are building mute groups and VCAs, and starting an automation scene list from a song list.
Miking the Symphony: Variations on a Theme
Symphony sound reinforcement has grown from modified Decca trees with outriggers and spot mics borrowed from recording to individually miking every stand or even every musician. Approaches vary from matched pencil condensers to various types of mics for each orchestra section with interesting similarities and differences from one engineer to another, depending, of course on available inventory.
Mono, Stereo or LCR in HOW, Theater, and PACs
Learn the advantages and dilemmas of choosing a one, two or three channel sound reinforcement system for House of Worship, theater or multi-use performing arts center. What are the trade-offs: is stereo good enough, is a center channel worth the added expense and what are the pitfalls of LCR.
Philip Reynolds: Flexible Foo: Digital System Drive
Digital drive signal flow from FOH is today’s professional tour standard for sheds, arenas, and stadiums and the holy grail of system engineers. This session looks at one solution to keep the mix in the digital domain all the way to the amplifiers, avoiding DA/AD conversions and signal degradation.
AES67: Audio Networking Today & Tomorrow
A discussion of current and future audio networking for live sound. The average sound guy wants to know what all the fuss is about Dante, AES67 and AVB for next week’s gig or next year’s installation.
Choosing the Right Vocal Mic
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.
Audio as a Business: Building and Developing a Career
Irons in the Fire: Career and Business Development Mentoring with the Manhattan Producers Alliance. Members of the Manhattan Producers Alliance talk about developing your brand and business and functioning as a creative talent in an ever-changing music business.
Virtual Sound Checks and Processing in a Networked Environment
Digital consoles and digital networking offer a natural pathway to simple recording through a single connection, making virtual sound checks an equally simple tool. Further, network appliances are now offering universally applicable virtual effects racks with benefits in pre-production, in enhanced portability, in migrating a studio sound to the stage (including providing recording engineers familiar tools at FOH) and in producing enhance monitor mixes. This session examines the fundamentals of effectively deploying such tools.
Prof. Jörg Sennheiser is interviewed by Prof. Dr. Jürgen Peissig.
Miking Grand Piano and Choirs
In Houses Of Worship, regardless of worship styles, acoustic grand piano and choirs are the most consistent sound sources to have fixed mics employed for sound reinforcement. This session covers the selection of mics, placement and tips for keeping a set-up consistent.
The Future of Wireless: Now What?
There has been dramatic erosion in the television band spaces available for wireless microphone and monitor use. How can a facility find available bandwidth and stay legal? What can be done to future-proof a system? Do 2.4 Ghz and like systems offer a solution, and if so, for whom? What can digital wireless bring to the equation? All these questions and more are addressed on this panel.
Larry Crane: The REAL Skills You Need to Record Professionally
It's easy to think that recording equipment is all one needs to run a successful studio, but it's really a small part of the equation. Larry Crane uncovers the true skills and mindsets that all successful and busy audio professionals really utilize in this session.
Mark Frink: IEM Fundamentals and Hearing Conservation
Drawing on his decades of road experience, Mark Frink explains the logic behind moving live performers to personal In-Ear-Monitoring solutions. Topics will include the selection of IEMs (universal vs. custom), mixing monitors for IEMs, personal mixing by performers and protecting performers hearing.
Jeff Taylor: Mono vs Stereo vs LCR in HOW and Fixed-Install
Architectural issues, acoustic concerns, audience point-of-view, style of music—all these elements come to play in a decision as to whether to configure a fixed installation system in mono, to attempt stereo, or combine the two in an LCR configuration. Jeff Taylor addresses the practical considerations in making a decision and in mixing for the chosen configuration.
Mike Senior: Mixing An Ensemble Recording
Mike Senior dives into the question of isolation during tracking, and use real-world small-studio recordings to demonstrate a wide variety of methods for dealing with spill—and how it's frequently a blessing, not a curse.
Speech Intelligibility: Contributing Factors
The cliché installed sound system is hampered by poor reproduction fidelity and reflected sound—hardly desirable when the message is delivered by spoken word, be it a sermon, a reading, an informational announcement or an evacuation warning. Through cases studies of problems solved, this session demonstrates how systems can live in harmony with their environment.
The Project Studio in the Commercial World
John Storyk moderates this panel exploring four “Project Studios” – each of which vary dramatically in size budget, acoustic solution and purpose. The panelists (either owners or designers) describe the studio’s individual goals, strengths, design/installation tips and significant issues encountered during the design/construction process. Most importantly, they will also reveal the tale of the studio’s success or failure after opening.
Theatrical Sound Design
This panel addresses starting from scratch for theatrical sound design, incorporating hand-crafted sonic elements, textures and effects. Our presenters discuss their process working across development in DAWs and translation to the stage, including modern tools like plug-ins that provide a time-saving predictive bridge between pre-production and a realized design.
Personal Networking for the Audio Professional
“It’s not what you know, it’s who you know” they say. We say, it’s both, because however good you are at what you do, you can always smooth the path to success with a bit of contact cultivation and networking. This session provides practical networking advice for people in all stages of their careers.
Ike Zimbel: RF Coordination on the Road
Get a look into the working life of a touring RF engineer. In this session, Ike Zimbel, our guest engineer, just off a five-month road haul, compares the RF environments in North American arenas, and shares a practical approach to working with wireless microphones, instruments and monitors in those environments and discusses wireless best practices.
Theatrical Console Automation
Scene and snapshot storage and recall, working with time code, synchronizing with lighting and EFX—these are all among the components of modern theatrical audio production. This session examines the console automation utilized to help the show go on.
Theater Sound System Design and Optimization
Theater sound designers can face architectural and aesthetic concerns within a given facility, audio content that ranges from dialog heavy drama to rocking reviews and a blend of live and recorded elements. Andrew Keister and Bob McCarthy, seasoned veterans of theatrical sound design, share their experience.
Wireless Issues for Live Theater: Broadway and Beyond
Manhattan’s Broadway represents one of the most hostile environments imaginable for wireless microphone use. How do sound designers and system engineers cope with the RF soup that fills the ether in “The Great White Way,” and what lessons learned can be applied to theater applications in general? This session offers answers.
Theatrical Vocal Miking
In theatrical vocal applications, mics should largely be heard and not seen. This session covers the practical issues of reproducing song and voice from the stage, including body mic dressing, use of omnis vs. directional polar patterns, earset vs. hairline mics.
Thomas Lund: Mix and Mastering Optimized for Streaming
Thomas Lund of Genelec discusses loudness-based normalization in distribution, and introduces free tools for equal-loudness comparisons. He also summarizes new streaming recommendations from AES and EBU. The session includes listening examples and tips for optimized delivery.
Creating a Project Studio
John Storyk and panel discuss how to create the best sounding, most ergonomically functional and aesthetically pleasing project studio possible on a given a budget (with questions from the audience). In the second part, the needs and goals for low, medium, and high-budget studios are addressed. The discussion encompasses site selection, construction, acoustics, technology, neighbors, clients, and other issues encountered and overcome.
Hugh Robjohns: The Importance of a Reference Monitoring Level
If you're serious about recording and mixing you need to set a consistent reference level to which you can always return. SOS Technical Editor Hugh Robjohns explains the concept of a reference operating level in the DAW and how that relates to the common metering formats, before showing how to extend that reference level into the acoustic domain with a simple seven-step process resulting in an appropriate calibrated loudspeaker monitoring level.
Marc Brunke: Audio Networking for Theater
As with audio infrastructure in general, digital audio networking is permeating the theater. This session examines why audio networking is finding a natural fit into theatrical applications, and discusses the details of network implementation.
Outside the Box: Alternative Outlets for Your Music
Careers in music don't just revolve around hit records, and never more so than in today's fragmented music business. There are many other ways of exploiting musical creativity and production skills, as this seminar and panel discussion demonstrates.
Stephen Webber & Alex Case: Listen Up, and Learn!-Track 1
A session dedicated to the art of listening, guided by your hosts, Stephen Webber and Alex Case. We'll listen as producers, engineers, composers, performers, and music fans analyzing the elements that contribute to the work's success. You'll gain a deeper appreciation of this recording. More importantly, you'll be inspired to approach your own work in new ways. Most importantly, you'll get an up-close view into how experienced audio engineers break down what they hear, empowering you to keep learning whenever you listen. Track 1 of 2.
Stephen Webber & Alex Case: Listen Up, and Learn!—Track 2
A session dedicated to the art of listening, guided by your hosts, Stephen Webber and Alex Case. We'll listen as producers, engineers, composers, performers, and music fans analyzing the elements that contribute to the work's success. You'll gain a deeper appreciation of this recording. More importantly, you'll be inspired to approach your own work in new ways. Most importantly, you'll get an up-close view into how experienced audio engineers break down what they hear, empowering you to keep learning whenever you listen. Track 2 of 2.
Irv Joel’s lifetime of contribution to the art of recording included 15 years at Capitol Records and early experiments with stereophonic recording. He became chief engineer at A&R Recording (co-owned by Phil Ramone), where he recorded such artists as Judy Garland and Liza Minnelli. Irv created this series of videos you are viewing now, decades ahead of his time, as always.
Norman C. Pickering
Norman C. Pickering was an engineer, inventor, and musician best known for improving the sound of phonograph records by refining record pickups and later designing precision phono cartridges.
AES Historical Committee Success Story - Ampex Corporation
"Success Story" - Ampex Corporation - A Kinescope recording of a live television broadcast on KGO-TV, San Francisco in June, 1955. One of a weekly series that illustrated free enterprise in operation around the San Francisco Bay Area, this documentary tells the Ampex Corporation story at that time. An Ampex engineer found a copy of this kinescope in 2003.
Since being publicly recognized in 1962 with his first GRAMMY® nomination, for Frankie Valli and the Four Seasons’ “Big Girls Don’t Cry,” Bruce Swedien has built a peerless body of work across eras and genres.
Legendary loudspeaker system designer John Meyer, interviewed by Irv Joel.
His many recording innovations include multitrack recording, along with overdubbing "sound on sound", tape delay, and phasing. He is considered by both seasoned rock artists and engineers to be one of the greatest influences in our crafts due to his inventions, longevity and guitar innovations.
Analog Tape in a Digital World
Recording to analog tape remains a hot topic in the world of audio engineering. Software modeling companies work hard to create the best emulations while hardware manufacturers pour over designs to also emulate the "magic" of the tape process, and yet "the real thing" remains a no-option for many artists and engineers still today. This workshop discusses the current state of analog tape manufacturing, availability, and its usage in the recording, mixing, and mastering stages of the music production cycle.
Dave Pensado & Herb Trawick: THE SCRIPT IS FLIPPED
Dave Pensado and Herb Trawick, hosts of Pensados Place, are interviewed for the first time ever. See what they have learned from their superstar guests; from studio technique and engineering to the pressures of creating online television for 180 straight weeks (and counting).
GRAMMY SoundTable: Songs That Move The Needle
At this GRAMMY SoundTable event on record production, presented by The Recording Academy Producers & Engineers Wing, five multi-talented, cross-genre hit-makers debated the who, what, when, where, and why of songs that have left an indelible imprint.
Grammy winning Recording Engineer/Producer Jim Anderson shares stories and wisdom from his successful career.
John M. Eargle was an educator, mentor, author, and friend of many in the audio community. He served as Vice President of Product Development at JBL Professional, and recorded or produced some 275 compact discs; interviewed by Irv Joel.
Karlheinz Brandenburg is a driving force behind some of today’s most innovative digital audio technologies, notably the MP3 and MPEG audio standards. Dr. Brandenburg is professor at the Institute for Media Technology at Ilmenau University of Technology and director of the Fraunhofer Institute for Digital Media Technology in Ilmenau. Interviewed by Irv Joel.
Louis F. Lindauer is an engineer and was the founder of API. Interviewed by Paul Gallo.
Mike Senior: Vocal Recording in the Project Studio
Mike Senior using live demonstrations and audio examples to show you how to get the best out of the stereotypical project-studio vocal tracking setup -- as well as exploring a variety of common situations where you're actually better off abandoning it completely.
Phil Ramone, one of the most influential and successful producers and recording engineers in the history of the recording industry, interviewed by Irv Joel.
Legendary Audio Engineering pioneer Ray Dolby of Dolby Laboratories is interviewed by another legendary audio engineer, John Eargle.
Richard Small is an American scientist who worked mainly on electroacoustics. The Thiele/Small parameters are named after him. Interviewed by Irv Joel.
We also have a series of tutorial presentations that were recorded between 2007 and 2013.