AES RSS Reader: AES Student Blog

Feed URL:

AES143 Student Recording Competition Interview: Loren Dorland

1) Tell us a little about yourself. Where are you from and what do you study?

I was born and raised near Tulsa, Oklahoma. I moved to Boston to attend Berklee College of Music and join their Music Production and Engineering major. It had been my dream to attend Berklee since I was 13 and getting to be a part of such a musically rich culture was more than a dream-come-true.

I’ve been so lucky to study under some of the most talented audio engineers in the industry and learn from them first-hand. Having my engineering projects graded by Susan Rogers is nerve-wracking, to say the least, but it lead me to set strong foundations as an audio engineer.

At Berklee I was able to work on dozens of different projects, ranging from folky string quartets to 12 piece funk bands. Being around such incredible musicians who are so dedicated to their art meant I was never at a loss when looking for new material to record. 

Now I’m a freelancer in Boston. I work for Berklee’s Internet Radio Station (The BIRN) and assist engineers and studios around the city, such as Dan Cantor at Notable Productions and Robin Moore at WGBH. Since I graduated I’ve found that the learning never really stops and I’m eager to work hands-on with seasoned professionals in the audio industry!

2) What initiated your passion for audio? When did it start?

My father is a music enthusiast and his library spanned decades, from jazz to early rock and roll to 80s disco, he loved collecting music. We would have contests on who could find the coolest new artist on the charts. I spent my childhood making playlists with him on CDs and sharing them with our family and friends. Every activity was embellished by the smooth tones of Motown or folk hits of the 70s.

I started writing music at a very young age and was always eager to share my songs. My parents bought me a guitar, I taught myself how to accompany my voice and by the time I was 13 my mother had me in the studio working through my songs with producer Jung Song from Tulsa. During this time, I became fascinated with recording. I found myself envious of the job behind the glass and asked a million questions to gain insight on exactly what the job of “engineer” and “producer” entailed.

I was lucky enough to attend a program at a local technical college during high school for music production. It was there that I finally got my hands on a microphone, learned how to mic a drum set and got certified in ProTools. This lead to my acceptance into Berklee and my journey through the Music Production and Engineering major there.I don’t think I could ever give up the feeling of anticipation when walking into a studio before set-up and preparing for music to be created. I’ve never felt more at home than when I’m behind that glass. I am honored to be an active part in bringing artist’s music to “tape” and enabling them to share it with the world. 

3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?

Brandon Hassan is not only one of my favorite clients, but a dear friend of mine. His music is volatile and passionate and working with him in the studio never fails to excite. I submitted to two categories at AES, Traditional and Modern studio recording, with two of my productions with Brandon. Both productions probably accumulated 40+ hours each if you include every recording session and mix sessions. Because Berklee only give 2-hour studio slots, everything had to be pieced together bit-by-bit. The songs are a part of Brandon’s band SHAH, who are all incredibly talented and enjoyable people. It was a blast!

These were my first entries into the AES competition and they both won awards! It was my last shot for submitting my work before I graduated and I’m super thankful that I did.

4) What/who made you join AES?

My second year at Berklee I went to an AES convention in New York. Dan Cantor at Notable, who also was a professor of mine, convinced me to go. I was completely enamored the whole weekend with the gear, the talks, and the people I met! Everyone is so kind and it’s so fun to be in a huge group of people who are all there for the same reason: to nerd out over audio. AES has always been a no-brainer. I want to be a part of the audio engineering community and joining was the first logical step.

5) Tell us about your favourite experiences at the 143st AES convention in NY!

Well, seeing Andrew Scheps mix Iggy Pop was incredible, along with all the other great minds at the Mix With the Masters booth. It’s cool to hear the pros talking about the mindset to have during the process, as opposed to worrying about technical stuff (which you can always learn). There was such a wide range of experience there. Getting to talk with professionals at booths and get ideas for the steps I should take in my career in the future was an invaluable experience.



Posted on February 5, 2018 at 6:00:00 AM EST

AES143 Student Recording Competition Interview: Kerrick Michael Crace

1) Tell us a little about yourself. Where are you from and what do you study?

I'm originally from Kennesaw (suburb of Atlanta), but I've lived in Nashville for 7 years now and it's my home. I recently graduated from Belmont University with a self oriented focus on score composition and film audio, and formally I graduated with a B.S. degree in Audio Engineering Technology with a minor in Music Business.

2) What initiated your passion for audio? When did it start?

I've grown up playing and composing on piano since I was 4 years old, though I never really learned to read music past a basic level. My piano teacher, after my stubborness wouldn't cease, fostered ear training and I learned to play fully by ear by the age of 8 or so. From there I learned to play other instruments - guitars, bass, drums, a little trumpet and viola, and I developed an ear for how instruments sound and fit together. Recorded bands throughout high school with a super simple Zoom 16 multitrack and maybe 3 mics. From that point on my perfectionist mind was always fascinated with sound and making things sound better and better. I realized in 2014 that I wasn't meant to record bands all my life (though I still will on the side), but I realized with my passion for audio and composition - and after having an incredible emotional reaction to seeing Interstellar in IMAX - that I had to fight to become a film score composer. Since then, I have trained myself to score films and have been lucky enough to work on over 2 dozen short films and bigger ones are in the works right now! Scoring really is the one things I feel that I can do in this world to impact people and to help creators share their story or to enhance a vision. This is everything to me, it is purpose.

3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?

This was my second entry! Last year I won a Bronze for a project under a similar situation, so I was really exciting and relieved to know I not only placed this time as well, but I did better than last year which feels great! So for this project I was hired to both create an original score and fully mix/master and do all the postproduction audio. The film was a successful graduate thesis project for Emerson College M.F.A. student Logan Freeman. I began the project in January of 2017 and completed both the score and the final mix in April of 2017. Upon deciding to submit, I created a 2.1 version and performed a remix to enhance and tighten things. The film, "Fated to Repeat," covers the struggle of an Alabama grunge rock band attempting to recover after losing one of their members in a tragic accident. My submission took place towards the middle of the 20min film and followed Mia, the band's now lead singer, who has gone outside the music venue to find the father of their deceased lead singer, Evan. The clip begins with Evan's father abruptly driving away when he sees Mia, which triggers Mia into a dream state where she recalls her past experiences with Evan and the band.

4) What/who made you join AES?

I went to a local Nashville AES when I was a freshman or sophomore I believe, and I joined our Belmont chapter then. I became the Treasurer for my junior year and then the Chair for my senior year.

5) Tell us about your favourite experiences at the 143st AES convention in NY!

Two of my fellow Belmont friends who are in the Audio masters program were able to present their research at AES and it was exciting to see that! I loved the seminars on film audio - they will keep me coming back every year for sure. Honestly I also just enjoyed New York as it was my first time being there, and getting to spend it with friends, celebrating the Recording Compeition results was incredible. Also getting to be in the room with SO many incredible engineers and creators is priceless and gives me a boost of energy that I hope will last me until next time!


To listen to Kerrick's project click here:

Posted on January 26, 2018 at 6:00:00 AM EST

AES143 Student Recording Competition Interview: Julián David Rincón Ruiz

1) Tell us a little about yourself. Where are you from and what do you study?

My name is Julián David Rincón Ruiz. I studied at the University of San Buenaventura in Bogotá, Colombia.

2) What initiated your passion for audio? When did it start?

My passion for audio was born from the need to save the sounds that I generated with my electric guitar, as a result of this, I started reading about audio and I realized the great amount of interesting things that the audio world offered, it was about 13 years ago.

3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?

I always try to record musical genres that are not very common. I do this, because I think that each genre has interesting things to contribute and challenges to solve when I record. Some time ago I wanted to record something that had instruments like: charango, violins and flutes. Initially I contacted a friend of mine who makes music for movies but unfortunately he had to move out of town, so I decided to search the internet for some musical groups of genres that had some of these instruments, searching, I found "Tierra Fertil" a group of Andean music and I decided to contact them to record a session in block. We were approximately 2 months adjusting schedules and dates and I was listening to many songs of that genre to study their sonority and thus be able to choose the indicated microphones so that the recording would sound as organic as possible; the day of the recording, we spent about 8 hours in the studio and recorded 4 songs in block. I decided to choose the song "Sol del Sur" because it was the song that most conveyed emotions. I think that although the recording process is very important. Finally in my opinion when we create music we generate emotions.

4) What/who made you join AES?

Last year, by suggestion of a university professor, I decided to join the AES to participate in the student competition of the 141st convention that was to be held in Los Angeles. I signed up with my degree project partner and I participated with the project "Design and construction of a control system for audio editors with integrated communication management" with which we got the gold award. Considering the great support and incentives from the AES, this year I decided to participate in the section of traditional recording in studio.

5) Tell us about your favourite experiences at the 143st AES convention in NY!

The 143rd convention was incredible because I had the opportunity to meet incredible people and excellent engineers, besides being able to see the latest in audio technology and to visit amazing studios in NY.

To listen to Julián's project click here:

Posted on January 18, 2018 at 6:00:00 AM EST

AES143 Student Design Competition Interview: Emre Kanatli

1) Tell us a little about yourself. Where are you from and what do you study?

I grew up in Istanbul and came to the USA four years ago to pursue my studies. I am a last-year undergraduate student in New York University, double majoring in Music Technology and Computer Science. I am very interested in technology and its applications, especially artificial intelligence. Although music on the other hand is the spirit and soul. Therefor I'm trying to find a healthy balance between the two.

2) What initiated your passion for audio? When did it start?

My passion for audio came from my passion towards music. At the age of 10 I started to develop my musical taste, until then I would listen to whatever was given. Initially I was very interested in rap, rock and punk, didn't really listened to the electronic music of the time. Not much later I wanted get more involved in music and picked up my first instrument, which was my father's classical guitar. I met most of my closest friends through my interest to make and listen to music. We would spend hours just listening and talking about records. My interest in electronic music began when I discovered the legendary Ghent based group Soulwax. What they did blew my mind because I had no idea how such songs were possible to perform. This curiosity led me to discover other great artists, and sparked my interest in the technology behind all of this.

3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?

About two years ago I took a graduate course titled Music for the Web, which introduced the basic concepts behind how audio works on the web. We were supposed to do a final project for this class and I chose to do a very simple application where a user can play and manipulate loops. This was a very primal version of my submission to the AES competition. After spending some thought on the project I realized that with additional features, this can actually turn into a product that others would want to use. The main inspiration behind this project is concerned with how we consume music today. I feel like everything is planned or recorded beforehand, let it be shows or music we listen to. I've been making music for many years now and I rarely record what I play, it's mostly about jamming in the moment. I realized that these jams not always get recorded and not a lot of people get to hear them. What I try to accomplish with this project is to encourage people to take a step away from composing and simply play what they feel at the moment with all its impurity and spontaneity. The project took about a year and a half to get to its current state, with a lot of mistakes made along the way. Even though I work day and night to evolve this project to what I had dreamt of, if it wasn't for other responsibilities I have such as school I'm sure it would not have taken more than a few months to get to this stage. This was my first ever AES convention and my first entry to the competition, I'm glad it became a memorable first experience.

4) What/who made you join AES? 

The associate director of the music technology program, who is also an AES fellow, our lovely Agnieszka Roginska emailed me about the competition encouraging me to apply with my project which I have previously demonstrated in school. I felt like I had to join since it was in New York and I had a well made product under my hands, it was a good opportunity at the right time.

5) Tell us about your favourite experiences at the 143st AES convention in NY! 

My favorite experience was having the chance of showcasing my project to a variety of professionals in the industry from all around the world and hearing their opinions on it. Most of the feedback I received was positive and it certainly motivated me to go further with this project. 

Posted on January 11, 2018 at 6:00:00 AM EST

AES143 Student Recording Competition Interview: Noah Kowalski

 1) Tell us a little about yourself. Where are you from and what do you study?

I am from Portsmouth NH, and I went to school at Emerson College studying Audio Post Production/Sound Design for Visual Media Arts. At school I worked on audio post-production for student films with the occasional foray into production recording. Additionally I explored music editing for a dance organization on campus and podcast editing for EdTech Times in Boston, so I really tried to explore all sorts of audio while at school - except for music production. There was very little at my school offered for music production, which I think is a shame, but Emerson is not a music school so I guess it makes sense. Regardless of this, in my time at Emerson I was able to focus my time on post-production and learn from some really knowledgeable professors and I am grateful for all of the experiences I had there.

2) What initiated your passion for audio? When did it start? 

My passion for audio began in High School when I started playing with synthesizers and experimenting with effects units. At this point I had really just dipped my toes into recording. It was all so daunting and I kind of just jumped into it and taught myself subtractive synthesis on a Roland SH-201 keyboard that my dad had given me. I was always interested in music during school and I was unquestionably a band geek but I didn’t want to pursue performance as a career so audio felt like a natural alternative. It wasn’t until I arrived at Emerson that I became interested in sound for film, but I really enjoyed it and that is how I came to be where I am now.

3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?

My AES submission was a product of my final semester in which I had already taken every audio related class at Emerson. Unfortunately there was no real capstone project in my program, so I decided to create my own audio capstone. I always loved the show Avatar: The Last Airbender, and it seemed like the style of sound design would be both challenging but also achievable and so that was my pick for a sound replacement. Deciding to do an entire episode was biting off far more than I could chew at the time, but I just had to chip away and learn as I went. I spent roughly 400 hours on it in total and it really was the only thing I worked on all semester. It was my first AES submission and so I was quite proud to have been a finalist.

4) What/who made you join AES?

I had joined AES the year previous when I had heard my friends discussing going to AES 139. At the time I had never even heard of AES, but we all decided to go and check it out. It was honestly overwhelming at the time because there was so much to see, and I did not get nearly as much out of it as I did this time at AES 143. I was glad to be back again with a better sense of the convention!

5) Tell us about your favourite experiences at the 143st AES convention in NY!

My favorite experiences at AES 143 were the all of the conversations had between other people just like myself who are trying to get into this industry. I met so many amazing people who are doing amazing things, and I made a lot of friends that I know I will stay in touch with. In addition, meeting so many experienced minds within the industry and having the opportunity to have some of them critique my work was really an honor.

Posted on January 8, 2018 at 6:00:00 AM EST

AES143 Student Recording Competition Interview: Samuel Ramirez

1) Tell us a little about yourself. Where are you from and what do you study?

I'm from Elk Grove, California, but spent most of the ol' teen years growing up in Denton, Texas. I'm a junior in the audio engineering program at the Jacobs School of Music at Indiana University, with a concentration in music performance. I love the engineering and mixing side of music, but I also stay pretty active as a keyboard player and producer. I think being involved in music-making in different roles helps inform all the other roles! I'm incredibly thankful to have the opportunity to study here at Jacobs, where I've been able to learn from our immensely knowledgeable audio faculty, as well as mess around with, you know, a few decent mics. 
2) What initiated your passion for audio? When did it start? 
I remember as a kid I used to carpool to piano lessons with my older brother and our friend. While we were waiting at the teacher's house for our turn, she would let us mess around with loops in Garageband on her desktop computer. I remember making some wacky, long, and probably god-awful arrangements using the built-in loop library. Then sometime around middle school, my brother got a little 2-channel M-Audio interface, and I began making actual recordings. Eventually I figured out how to overdub tracks, and I guess I've been doing that ever since. 
3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?
Moose Memories is a local Bloomington band (which I may or may not be in), and we recorded this session with help from our friend Jared O'Brien late at night during finals week last year. We had played the song at a few shows by that point, and just wanted to get a quick and dirty recorded version to have as a demo. Everything was tracked live, except for overdubbed vocals. We ended up not touching it for months, but I began work on the mix a few weeks before the submission deadline for the AES mix competition so it made sense to go ahead and submit it. I had a lot of fun trying to balance cleanness and clarity in the mix with the rough, distorted aesthetic we were looking for. This was my first time submitting in the mix competition and I'm glad I did!
4) What/who made you join AES?
Recommendations from faculty and other students, and of course being able to participate in the convention itself.
5) Tell us about your favourite experiences at the 143st AES convention in NY!
Stevie Wonder is one of my all time favorite musicians and songwriters, so it was really wild to see him strolling by, even though I was fanboying out way too much to try to talk to him. I also learned a lot from the judges' feedback on all the mix competition submissions, which was awesome. 

Posted on January 2, 2018 at 6:00:00 AM EST

AES143 Student Recording Competition Interview: Fryderyk Hoang Dong

1) Tell us a little about yourself. Where are you from and what do you study?
I study at Frederic Chopin University of Music in Warsaw, Poland and currently I am doing a final year of Master's degree out there. I major in music recording and production but sound design for visual media has always been my passion that I wanted to keep working on. 
2) What initiated your passion for audio? When did it start? 
I think my music background is a complete basis for my interest in audio. I have been playing piano since I was 6 years old and actually did a Bachelor degree in Classical Piano Performance at the same time with Sound Engineering. These two are equally important in my life, but piano came first. During my high school years I decided I wanted to expand my horizons and knowledge and that's how I decided on going into audio field professionally.  
3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?
The video for the piece I submitted is originally a music video for a song by electronic artist Flying Lotus called "Tiny Tortures", of whom I am a big fan. I have seen great potential in it in terms of telling a story with sound design which didn't exist in original music. I decided to work on it and entirely created a new sonic layer. My main objective was to focus on emotional side and help the storytelling of a great picture directed by David Lewandowski. It was my first AES student competition entry.
4) What/who made you join AES?
AES is a very good networking resource, especially for young professionals who are just starting out in the field. 
5) Tell us about your favourite experiences at the 143st AES convention in NY!
Student Party was a pleasant experience which happened I think in a studio somewhere in Hell's Kitchen if I remember well. I saw a very weird looking grand piano and then realized the day after that it was the Alicia Keys' famous Piano sampled also by Native instruments. I saw it live and got to play on it for a bit, but didn't even realize that it was Alicia Keys' piano. Wow!

Posted on December 31, 2017 at 6:00:00 AM EST

AES UK section are hosting UP Your Output!

Our colleagues at Audio Engineering Society British Section are organising a great conference and they are inviting all current AES Student and Recent Graduate Members. 

Once again, AES UK section are hosting UP Your Output! - the AES UK student conference, running March 17th/18th 2018 at Leeds Beckett University. This year's conference includes a great range of keynotes, loads of practical workshops and trade exhibits/tech demos from a range of top companies. They also have a student poster competition where students can present their project work in the format of an academic poster.

More Information

Posted on December 19, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Telefunken

TELEFUNKEN Elektroakustik strives for absolute perfection. By offering historic recreations of classic microphones alongside our own proprietary designs based around the distinctive tube mic sound, we have established a product line that perfectly blends vintage style and sound with the reliability of a modern-day microphone. Our commitment to both the sonic excellence and quality of all of our products is rivaled only by our dedication to provide the BEST possible service to each and every one of our customers.

Posted on December 18, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Solid State Logic

From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals.

With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognized for unrivaled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.

Founded by Colin Sanders in 1969, SSL has since expanded to its present 15 acre science park in Oxfordshire, England. SSL's unrivalled resources, including R&D, manufacturing, training, service and product support, operate in a unique high technology, customer oriented environment.  The company invents, designs and manufactures technology for the creative manipulation of sound. Users and industry experts from all over the world visit SSL's Oxford HQ to consult with SSL audio experts and evaluate SSL equipment. There are more than 3000 SSL systems in service around the world.

Posted on December 15, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Merging

Thank you to Merging, the company that brought the incredible DAW Pyramix into the industry, and one of our sponsors for the student recording competition!

Merging Technologies is the world’s foremost manufacturer of high-resolution digital audio recording systems.  The list of customers reads like a who’s who in the recording industry and recordings made with Merging Technologies’ systems regularly receive the recording industry’s prestigious Grammy® Award. 

The company was founded in 1990 in Chexbres, Switzerland by Claude Cellier; an electronics graduate of the Institute of Technology in Lausanne  Prior to this, Claude worked for the famous Swiss audio maker Nagra Kudelski for 10 years. Within a short time of its founding, Merging quickly established a reputation for their expertise in digital signal processing and associated hardware, and with their Pyramix Virtual Studio, was one of the first companies to produce a DSD recording system. 

In 2007, Claude Cellier was presented with the Audio Engineering Society Fellowship Award  for outstanding contributions to the development of high-performance, high-resolution audio workstations.  Merging Technologies currently has over 20 employees with offices in Switzerland and the UK.

Posted on December 14, 2017 at 6:00:00 AM EST

AES143 Student Recording Competition Interview: Kyle Patrick Holland

1) Tell us a little about yourself. Where are you from and what do you study?

I grew up just outside of Chicago but moved to Nashville about 4 years ago to attend Middle Tennessee State University. I finished my undergraduate audio production degree there in 2015, and now I’m working on finishing my masters in recording arts and technologies here at MTSU. I plan to graduate with my masters in the Spring of 2018. 

2) What initiated your passion for audio? When did it start? 

Like most people, my musical journey started out by being a musician. I took piano lessons as a kid, I played clarinet and trumpet in my school band, and I was a guitar player for a variety of rock bands throughout high school and college. I was lucky to attend a grammy winning high school that had music theory classes and a small MIDI based computer lab. This was my first introduction to music technology and the power that it had. Eventually I invested some money into a basic recording setup of my own so that I could record and produce my own songs. It wasn’t long before I became totally obsessed with audio. I used every chance I could to learn more about how to make better sounding music. This new found passion is what brought me to Nashville to attend MTSU and where I now produce local bands and songwriters. 

3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?

The song I submitted for the competition was written by a friend of mine Natalie Madigan who is also a student at MTSU. I originally demoed a few of her songs as part of a class project during the later part of 2016. I was really impressed by her work so we decided to do a song together in our free time outside of class. The song was written to raise awareness about sexual assault and therefore had a lot of emotional depth to it. I wanted to maintain that feeling with the production of this song so we used a lot of dark tones, big reverbs, and ethereal sound effects. The production started out as just a piano and vocal recording. After the piano and vocal was recorded, I took the tracks home and programmed some strings and a bass line for the song. Next we recorded the drums. Then after adding and chopping up some additional sound effects and synth parts, we recorded the various background vocals parts heard in the track. The entire process from demo to a finished mix was probably about 4-5 months since we had to find time to work on it between our busy schedules and school work. This was my 3rd time entering the competition. Last year I won bronze, and this year I won gold.

4) What/who made you join AES?

My school is who really got me to join AES. When I first came to MTSU and was researching various organizations that were involved with audio, AES was one of the first names to pop up. I wanted to be involved in everything any anything audio that I could so it seemed like a no brainer to join the AES.

5) Tell us about your favourite experiences at the 143st AES convention in NY!

I think my favorite experiences at the the 143rd AES convention would have to be both winning gold in the student recording competition, and going to the student party at Jungle Studios. I had set a goal a while back to win gold at the AES student recording competition so the moment my name was announced as the winner was a moment of pure elation. It was also really cool to see and spend time in Jungle Studios knowing that some very successful artists had stood and created some hit songs in that very same room. As always, the AES convention is always a great opportunity to see and reconnect with old friends.



To listen to Kyle's project click here:

Posted on December 14, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Genelec

Like many other audio technology companies, Genelec’s roots are deeply seeded in the world of Broadcast & Music recording technology. Our current offering is the most complete in the market place: from the very compact 8010 to the massive 1236A with technologies like Directivity Control Waveguide™, pioneered by Genelec and the Smart Active Monitor technologies featuring AutoCalibration etc. Still to date, after 10 years in the market something Genelec is alone of. Genelec stays at the forefront of speaker technology and is proud to serve many of the worlds finest audio facilities.

Posted on December 13, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Eiosis

Slate Digital and Eiosis are award-winning, industry-standard brands of professional audio software that are used on many hit records made by world-renowned mixing engineers. At Slate Digital and Eiosis, we are a team of dedicated people evolving in a friendly environment, with a focus on quality and innovation.

Our products combine science, technology, and art. Each product is a new challenge as we always strive for perfection. Our customers appreciate how far we like to refine our algorithms and graphical interfaces.

Eiosis and Slate Digital are growing thanks to the passion, hard work, and talent of each team member. Our company culture is to let people be proactive and autonomous: new ideas are welcome and encouraged and excellence is highly rewarded. We have a lot of dreams and ambitions for our future and our growth, so we are searching for talented people to develop all these exciting projects and bring them to success!


Posted on December 12, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Cycling '74

Cycling '74 are once again sponsoring the Student Competitions, with some prizes of Max MSP licences.

Cycling '74 creates software for the specialized needs of artists, educators, and researchers working with audio, visual media, and physical computing. They are best known for their work with the digital signal processing software environment Max.

Posted on December 11, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Black Saloon Studios

Mandy Parnell became interested in recorded music at the age of 5, listening to records on a portable Dansette player . She studied music and music technology through her school, college and university years, training and working in recording studios until landing an internship at a mastering studio.Mandy worked her way up through the ranks, eventually becoming a world renowned mastering engineer in her own right. She finally decided to launch her own facility, Black Saloon Studios. Her 24 years of experience have allowed her to discover and develop her philosophies in analogue and digital audio, while working with an amazing array of artists.

She has been nominated and won numerous awards, Grammy, Tech Awards, MPG and various others. She is also an active member of the AES, Grammys, APRS and MPG, and lectures on mastering and the music industry across the globe.

Posted on December 8, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Big Bear Audio

Thank you to Big Bear Audio for sponsoring the recording competition.

Big Bear Audio is a high end audio design house based in London, founded by AES UK Vice Chairman Charlie Slee. Focusing on both pro and consumer audio products, Big Bear Audio designs and manufactures analogue electronics tools for the professional and audiophile.

Posted on December 7, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Acustica Audio

In these modern days of accessibility, nearly anything can be purchased. If you have money, you can simply have things. This sets you apart because you are able to amass more tools.
But Acustica has a different idea about the future: true power is knowledge. When it comes to our tools, anyone with a small amount of money (compared to the enormous cost of audio gear and software) can have tools more powerful and more “musical” than they have ever imagined. We are living in a radical and liberating era of audio and audio technology, nearly everyone who works with audio is seeing this. Now the differences between the average person and the wealthier person are much smaller in respects to the tools that can be attained. They meet however on the common ground of knowledge. And now, only creativity, ability, and what one does with these tools are the barometer of difference.
We believe true richness is found in possessing knowledge. Knowledge and hard work equates to wealth. Here at Acustica, one can easily acquire amazing tools to prove that...

More Information

Posted on December 6, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Auralex Acoustics

Auralex Acoustics is the industry leader in acoustical treatment products, including acoustical absorbers, diffusors, sound barriers, construction materials, isolation platforms and complete room treatment systems. Let the experts at Auralex help you achieve world-class acoustics in any room.

More Information

Posted on December 5, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Sonnox

Sonnox is the leading designer of innovative, high quality, award-winning audio processing plug-ins for professional audio engineers. Oxford Plug-Ins are used in an extraordinary range of audio applications including mixing for music production, live sound, broadcast, TV & Film, and even scientific and forensics projects. 

The Sonnox design team traces its heritage back to the 1980's, to the development of the legendary Oxford OXF-R3 digital mixing console. With a base price of $1 million, the OXF-R3 was installed in major recording studios worldwide, and became widely accepted as the first ‘musical’ sounding digital console. 

As music production began shifting towards digital workstations, the console inspired a series of unique software developments starting with the Oxford EQ and Dynamics plug-ins.

The expanding family of Oxford Plug-Ins quickly acquired a reputation for excellence among leading engineers worldwide; a reputation that was earned through a no-compromise attitude to audio performance and a desire to push the boundaries with intuitive and novel user interfaces.

Sonnox continues to develop unique, high-quality plug-ins for audio production, embracing new technology and formats with partners such as Avid, Universal Audio and Fraunhofer.

More Information

Posted on December 4, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Sweetwater

Doing the right thing...since day one.

It seems so simple: just make your customers happy!
In fact it takes a lot of hard work to make it happen — but not everyone is willing to make that effort. That very simple concept is the reason Sweetwater was founded in the first place. Since 1979, founder Chuck Surack has committed to "doing the right thing", and this belief is at the core of Sweetwater's identity, ethics, and practice.

More Information

Posted on December 3, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Professional Audio Design

Pro Audio Design offers a unique resource for recordists at every level. By combining equipment sales, design and technical services under one roof, our clients enjoy the advantage of having the PAD team bring visions to life. PAD's systems approach is your partner from the drawing board to opening day, and beyond. We offer knowledgeable and experienced sales consultants, technicians, designers and client support staff who care about you and your project's success. We approach each client individually, bringing the right creative people together to deliver a complete and well-suited solution. This allows the client a greater level of control and confidence.

More Information

Posted on December 2, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! D16 Group Audio Software

Today, D16 Group Audio Software have become a premium audio plug-ins vendor. Continuously high level of quality and will of improvement allow us to deliver virtual instruments that set a new standard of sound perfection and effects that take creativity to the next level. Solid trust from audio community and respect for products fruitful in many rewards make D16 Group Audio Software the company of choice for many musicians around the globe.

More Information

Posted on December 1, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Avid Technology

Story has always been about people together. Stories engage us. They inform us. They enlighten us. As long as there are people, there will be stories. And as long as there are ideas to share, there will be storytellers. At Avid we help creators tell their stories. 

More Information

Posted on November 30, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! DIY.RE

Peterson Goodwyn began building his own audio gear in 2008 for one simple reason: he couldn’t afford to buy it. In 2011 he founded DIY Recording Equipment with the vision of making excellent audio equipment affordable and accessible to anyone who was willing to pick up a soldering iron. Since then, DIYRE has enabled thousands of musicians and engineers to build their own equipment, through hundreds of DIY tutorials, designs, and blog posts.

More Information

Posted on November 29, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Mathew Lane

Mathew Lane audiotools are innovative new solutions, created when no other hardware or software could be found suitable for the task.The DrMS spatial processor is Mathew Lane's first product, already widely accepted by audio professionals as a unique plugin. It's being used by top producers and engineers on songs by well known artists such as Black Eyed Peas, Coldplay and many others. Legendary mix engineer Dave Pensado is a fan and has been showing the use of DrMS on several of his Pensado's Place Into The Lair videos.

DrMS is a unique spatial processor, available as AAX/RTAS/AU/VST plugin, with a wide range of applications for mixing, mastering and post production - going from simple MS (Mid-Side) encoding/decoding, over stereo field width and depth enhancement, to fixing mono compatibility issues and more.

DrMS now also has little brother called StereoDelta. And even more, Mathew Lane has recently gone hardware by introducing the OnTheMoon SPACECRAFT, a unique analog spatial processor based on his spatialising technology.


More Information

Posted on November 29, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! iZotope

At iZotope, we’re obsessed with great sound. Our intelligent audio technology helps musicians, music producers, and audio post engineers focus on their craft rather than the tech behind it. We design award-winning software, plug-ins, hardware, and mobile apps powered by the highest quality audio processing, machine learning, and strikingly intuitive interfaces. iZotope: the shortest path from sound to emotion.

More Information

Posted on November 28, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! Jensen Transformers

Founded in 1974, Jensen Transformers Inc. researches, develops, manufactures, and distributes products for use by audio and video professionals worldwide. Along with over 100 standard models of high performance audio and video transformers, Jensen  pioneered the ISO-MAX ® line of ready-to-use audio and video ground isolators for solving interfacing and hum & buzz problems in Professional, Commercial, & Residential Audio/Video systems.

More Information

Posted on November 26, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! THAT Corp

THAT Corporation, founded in 1989, designs and sells high-performance analog integrated circuits for professional audio manufacturers. THAT’s ICs include analog input and output stages, digitally controlled preamplifiers, and its original line of voltage-controlled amplifiers (VCAs) and RMS-level detectors – all used throughout the pro audio industry. The company also licenses patents, trademarks, and other intellectual property to the TV broadcast and reception industries. Under the dbx-tv® brand name, THAT offers Total Sonics™, Total Surround™, and Total Volume™, TV audio enhancement technology and digital (Verilog®) implementations of legacy TV audio receiver standards covering all parts of the world, including BTSC, A2, NICAM, and EIA-J. The company is headquartered in Milford, Massachusetts, with offices in Tokyo, Japan and Milpitas, California.

More Information

Posted on November 25, 2017 at 6:00:00 AM EST

AES 143 | Thank You Sponsors! TASCAM

For more than 30 years, TASCAM has developed products for every segment of the sound and music industry. From the high-end audio professional in a major post-production studio to the novice or hobbyist at home, TASCAM is everywhere. We are a company committed to providing our customers audio/video solutions that enable breakthroughs by using sound in ways that are as exciting as they are accessible. In short, we provide tools that let people translate their creativity into reality.


More Information

Posted on November 24, 2017 at 6:00:00 AM EST

Return to AES Home Page