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AES Explores "The Power of Sound" at AES Milan 2018 — Organizing Committee Announced

The Power of Sound — AES Milan 2018

The Power of Sound — AES Milan 2018

The Audio Engineering Society has announced the distinguished membership of the organizing committee for the 144th International AES Convention and Exposition, taking place in Milan, Italy, May 23–26 at the NH Hotel Milano Congress Centre. Embracing this year’s theme – “The Power of Sound” – the convention will be co-chaired by Alberto Pinto (Professor – CESMA, NUCT University, Stanford University) and Nadja Wallaszkovits (Chief Audio Engineer – Phonogrammarchiv, Austrian Academy of Sciences and AES President-Elect), who have assembled a team of leading audio professionals to organize the events and presentations for Europe’s largest professional audio education, networking and gear exhibition of the year.

“Throughout their 70-year history,” says Wallaskovits, “AES conventions have gathered the foremost minds in audio to educate and connect with attendees. AES Milan 2018 will carry on that tradition in Northern Italy – not only a wonderful locale, but also home to numerous prominent professional audio manufacturers.”

The all-volunteer committee is representative of the caliber of participants in the convention. The committee members are Workshop Co-chairs Natanya Ford (Senior Lecturer – The University of the West of England; AES Fellow) and Magdalena Piotrowska (Manager and Sound Engineer – Hear Candy Mastering; Post-doc – Gdansk University of Technnology), Papers Co-chairs Ville Pulkki (Tenure-track Assistant Professor – Aalto University; AES Fellow) and Sascha Spors (Professor – University of Rostock), Facilities Co-Chairs Marcello Mannini (Sound Engineer, Skeldon Società Cooperativa) and Layan Thornton (Senior Member – AES European Convention TPVR team) and, as Advisor, Umberto Zanghieri (R&D Manager – Z Division, RCF). “This outstanding committee is developing four full days of content that will educate and enlighten convention attendees,” states Pinto. “For audio professionals looking to advance their knowledge and skills, for students and all others interested in the audio sciences and arts, AES Milan is an essential event.”

“AES Milan is offering Workshops and Tutorials from across the broad range of audio engineering specialties,” elaborates Piotrowska. Sessions will include 3D Audio, Sound Reinforcement, Sound for Cinema, Sound for VR, Multichannel Audio, Recording and Production and Room Acoustics. “Convention attendees can share and expand their audio knowledge from the fundamentals through to the latest technologies,” she furthers. “New media – AR and VR, game sound, immersive audio, mobile platforms – will be the focus of numerous sessions and panels, including the experience of 3D audio through a high-order ambisonics system with dance and electronica musical playback, among other genres – as well as the presentation of spatial audio production techniques used such as B-format processing and spatial microphone capture. The AES Milan technical program will cover the application of technology – such as live sound system optimization and mixing – as well as present panels and presentations focusing on the latest in topics such as audio processing and portable streaming audio.” 

A mainstay of AES Conventions are Paper and Poster sessions, presenting the results of scholarly and commercial research covering all aspects of audio technology and including human perception of sound. Pulkki and Spors are heading the team of peer reviewers busy vetting the bountiful submissions for AES Milan 2018.

Students are also a major part of all AES Conventions. AES Milan is no exception, with student-oriented educational sessions and events that include student recording and design competitions, mentoring and a career and school fair.

The four-day technical program at AES Milan will run May 23 through 26, with the exposition taking place May 24 through 26. The technical program sessions include over 160 research paper presentations, covering the latest in audio research, technologies and techniques aimed at educating audio professionals and students, alike, while exemplifying the Convention theme: “The Power of Sound.” 

The companion exposition will showcase leading manufacturers with the latest gear on-hand for demonstration and evaluation, along with educational presentations and panels taking place on the show floor. The expo will also feature dedicated demo rooms and other unique listening experiences, complementing the full schedule of special events and social opportunities going on throughout the show. 

Make plans to join the AES in Milan and follow us online at aeseurope.com for the latest details about the technical program, exhibitors, registration, housing and more. For information on AES Milan Convention discounts, AES E-Library research archive access, special student and education events, visit aes.org. 

Posted: Monday, February 19, 2018

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DiGiCo Showcases SD12 at AES New York Convention

Representing the culmination of 15 years of digital console design, DiGiCo’s new SD12 console was the centerpiece of the company’s presence at the AES New York Convention.

Spotlighted on Group One’s stand, the desk shared the show floor with DiGiCo’s S31—the larger, triple-screen sibling of the S21 - and the company’s flagship SD7 touring console, among other products.

“From the stages of Summerfest’s 50th in Milwaukee to the audition and elimination rounds of NBC’s America’s Got Talent in Los Angeles, the SD12 has very quickly been showing up on numerous tours, festivals and installs since we launched it at NAMM back in January,” says Group One Vice President of Audio Matt Larson. “Equipped with DiGiCo’s latest generation of Super FPGA processing along with the Core2 platform and dual 15-inch touchscreens, the popular desk embodies the best features of both the SD- and S-Series combined into a highly compact yet intuitive and user-friendly design.”

For more information visit www.DiGiCo.biz 

Posted: Friday, October 20, 2017

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Audio-Technica Now Shipping New AT5047 Cardioid Condenser Microphone

Audio-Technica is now shipping its new AT5047 Cardioid Condenser Microphone. The most recent addition to A-T’s 50 Series (which also includes the AT5040 vocal microphone and AT5045 instrument mic), the AT5047 is a studio microphone that features the same capsule as the AT5040 but with a transformer-coupled output and optimized electronics.

Boasting the widest dynamic range among all Audio-Technica microphones, the AT5047 is equipped with a transformer-coupled output, and said to maintain a constant load output impedance, even when capturing sources at high SPL, resulting in a more stable relationship between the mic and a mic preamp or console input.

The AT5047 features four rectangular two-micron-thick diaphragms, which function together to provide a combined surface area twice that of a standard one-inch circular diaphragm. A-T says that discrete components have been selected and optimized for performance and compatibility with a wide array of microphone preamps and console inputs, and that advanced internal shock mounting decouples the capsule from the microphone body, and the included advanced-design AT8480 shock mount provides superior isolation.

Featuring a housing of aluminum and brass, each AT5047 has been hand-assembled and inspected. A custom hard-shell carrying case with die-cut foam compartments offers protection during storage and transport.

AT5047 specifications:

  • Element: Fixed-charge back plate, permanently polarized condenser
  • Polar Pattern: Cardioid
  • Frequency Response: 20 to 20,000 Hz
  • Open Circuit Sensitivity: -29 dB (35.5 mV) re 1V at 1 Pa
  • Impedance: 150 ohms
  • Maximum Input Sound Level: 148 dB SPL, 1 kHz at 1% T.H.D.
  • Noise: 6 dB SPL
  • Dynamic Range (typical): 142 dB, 1 kHz at Max SPL
  • Signal-to-Noise Ratio: 88 dB, 1 kHz at 1 Pa
  • Phantom Power Requirements: 48V DC, 2.7 mA typical
  • Weight: 592 g (20.9 oz)
  • Dimensions: 165.3 mm (6.51') long, 57.0 mm (2.24') maximum body diameter
  • Output Connector: Integral 3-pin XLRM-type
  • Accessories Furnished: AT8480 shock mount for 5/8"-27 threaded stands; 3/8" to 5/8" stand adapter; protective carrying case

For more information, please visit www.audio-technica.com.


Posted: Friday, October 20, 2017

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NUGEN Audio Introduces Halo Upmix Second & Third Order Ambisonic Output and Advancements for Loudness Toolkit at AES 2017

NUGEN Audio introduced a new version of its Halo Upmix 3D Immersive Extension and launched an update for Loudness Toolkit 2, version 2.7, at AES NY, as part of the company’s surround management, loudness monitoring, correction and true peak limiting for workstations offerings.

NUGEN Audio continues into the immersive audio field with its Halo Upmix, announcing a further update to its Halo Upmix 3D Immersive Extension. Having launched first order Ambisonic output capability in July, this latest upgrade will allow second and third order Ambisonic output and support for AmbiX and FuMa formats.

“Halo Upmix, generating higher order Ambisonic output, is yet another innovation from NUGEN Audio in immersive audio,” says Ed Gray, Avid's director of partnering programs. 

Additionally, the Halo Upmix 3D Immersive Extension update will also include both 7.1.4 and 5.1.4 channel configurations to facilitate production in Auro-3D formats – a three-dimensional audio standard used across several industries, including cinema, gaming and automotive applications.

“Immersive audio is becoming a rare conceptual game changer that has the potential to re-define how we create and enjoy sound, as engineers seek new tools and workflow to fully exploit this exciting and rapidly developing technology,” says Jon Schorah, founder and creative director, NUGEN Audio.

NUGEN Audio has also announced a new version of its Loudness Toolkit, version 2.7. Loudness Toolkit 2 includes the VisLM-H meter, LM-Correct quick-fix tool and ISL true peak limiter. This update makes Loudness Toolkit a companion for NLE and DAW users. Loudness Toolkit 2 also features “DynApt dynamic adaptation technology available as an extension for LM-Correct, enabling streamlined LRA targeting.

New features include a unique power-compensated true peak safe dither algorithm for the ISL True Peak limiter. Several different forms of dither are available, said to enable the minimization of quantization errors and artifacts from bit depth reduction processes. ISL is designed to automatically compensate for the dither applied, by which, says Nugen TPmax is preserved and true peak compliance violations are not accidentally introduced in the final output dither stage, as might potentially be the case when engaging traditional post-TPmax dither functions.

For the LM Correct quick-fix tool and VisLM Loudness Meters, 7.1 dialog anchored analysis and processing is now possible. Additionally, for both LM-Correct and VisLM, the EBU Mode has been updated to reflect new guidance on LRA readings for audio under 60 seconds long. Nugen says that this and other minor usability and compatibility enhancements reflect the company’s commitment to keeping pace with loudness standards worldwide. 

For more information, visit




Posted: Friday, October 20, 2017

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DAD Adds Speaker Correction for AX32

Pro | Mon | 3 is an audio monitor control solution that offers stand-alone monitor control functionality and speaker processing covering a range of functionality for music recording studios, location music recording, and post production environments. 
With the new Version 3, as an integrated part of the AX32 and DX32 units DAD offers the new desktop Monitor Control Unit, with layered control functionality. By adding the new SPQ | Speaker Processor card to the AX32, 128 channels with 1024 filters can be allocated to the outputs of Pro Mon, all with a 56-bit floating point calculation precision, giving a filter dynamic range of > 130dB.

When adding the Pro | Mon | 3 license, a range of additional monitoring control features are added to the DADman software, enabling AX32/DX32 to operate as a processor with control of signal routing, control room speaker levels and monitor cues in any channel format including stereo, 5.1, 7.1.4, Dolby Atmos and other 3D and immersive audio formats. The control and configuration is managed by the new DADman 5.1 software, which also serves as a control center enabling devices compliant with Avid Eucon or MIDI to operate the monitor functions.
Multiple monitors and cue outputs in various channel formats can be configured and controlled from one or more hardware MOM’s (Monitor Operating Module) with individual cue mix functionality and dedicated monitor mixing. Adjustable parameters include level, pan, cut, mute and even downmix from, for example, a 7.1 multichannel format. All settings and configurations can be saved and recalled.

"In short, when combining the routing, processing and control surface options with the ability to quickly save and recall setting, you essentially get a centerpiece that allows you to switch between various workflows. Potentially, this can save significant amounts of valuable production time," says DAD Sales Director Mikael Vest. “Further, Pro | Mon | 3 and DADman 5.2 support 64 bit Apple OS X and Microsoft Windows which gives a more responsive feel. It also provides compatibility with the Avid Eucon 64-bit protocol which we have adopted as a Eucon connectivity partnerMost of the Pro | Mon | 2 controls are available via Eucon and can be configured in detail on Eucon-enabled control surfaces such as the Avid S6, Avid S3, Avid Pro Tools Dock and the Pro Tools Control iPad app for wireless cue mix and monitor control. Also, standard MIDI controller devices can serve as controls, as well as third party controllers from TAC Systems and CB Electronics."

For more information visit


Posted: Friday, October 20, 2017

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