In This Section
- Eastern Region, USA/Canada
- VP: Anthony Schultz
- Central Region, USA/Canada
- VP: Jason Corey
- Western Region, USA/Canada
- VP: David W. Scheirman
- Northern Region, Europe
- VP: Bill Foster
- Central Region, Europe
- VP: Thomas Sporer
- Southern Region, Europe
- VP: Liz Teutsch
- Latin American Region
- VP: Valeria Palomino
- International Region
- VP: Toru Kamekawa
New York AES Section
If there is a meeting topic you think would be of interest to the membership, please contact us. There is no fee to attend most section meetings and they're open to everyone with an interest in professional audio. Students are especially welcome at all meetings.
January 12, 2016 at 7:00 pm
Location: Clive Davis Institute of Recorded Music, NYU - Studio 510. 194 Mercer Street - 5th Fl
Moderated by: Jim Anderson
Speaker(s): Alex U. Case - University of Massachusetts Lowell
Distortion, deliberately applied to elements of your mix, is a source of energy that lifts tracks up out of a crowded arrangement and adds excitement to the performance. Accidental distortion, on the other hand, is a certain sign that the production is unprofessional, dragging down its chance for success. Amps, stomp boxes, tubes, transformers, tape machines, the plug-ins that emulate them, and the plug-ins that create wholly new forms of distortion all offer a rich palette of distortion colors. Mix engineers must know how to choose among them, and how to tailor them to the music. Case takes a close look at distortion, detailing the technical goings-on when things break-up, and defining the production potential of the most rebellious of effects.
Alex U. Case has dedicated his professional life to the study of aesthetics, perception, signal processing, electro-acoustics and room acoustics for the creation and enjoyment of recorded music. An Associate Professor of Sound Recording Technology, Case leads classes, sessions and research with undergraduate and graduate students at the University of Massachusetts Lowell.
AES President-Elect and a Fellow of both the Audio Engineering Society and the Acoustical Society of America, Case is an engineer, educator, and author - for Focal Press, and lynda.com - who speaks frequently on audio and acoustics across the United States and worldwide. With degrees in Mechanical Engineering, Music, and Acoustics, Professor Case lives and works at the intersection of audio art and science.
Posted: Wednesday, December 16, 2015
Past Event: Revisiting the Legendary 1938 Benny Goodman Carnegie Hall Concert, or "The Greatest Broadcast That Never Happened"
October 6, 2015 at 7:00 pm
Location: The New School for Jazz Performance 5th floor?55 West 13 Street?between 5th & 6th Avenues New York, NY
Moderated by: Robert Auld, AuldWorks
Speaker(s): Vincent Pelote, Director of Operations, The Institute of Jazz Studies, Rutgers University; Seth B.Winner, President, Seth B. Winner Studios
Benny Goodman's January 16, 1938 concert in Carnegie Hall was one of the most important musical events of its era. It signified a major cultural shift, in which jazz was accepted as more than just entertainment played in "low" venues like brothels and speakeasy's. The recording of the concert, first released in 1950, was an immediate hit and has never been out of the catalog since. It is, simply, the largest selling jazz album of all time.
There have always been mysteries and misconceptions about how the concert was recorded and what source was used for the initial 1950 LP release. Further, when Columbia reissued the concert on CD in the 1980's, it appeared that the original transcription disk recordings made in 1938 had been lost, so the first CD issue used the 1950 tapes. In the 1990's, Phil Schaap, backed by the resources of Sony (who now owned the Columbia catalog), finally tracked down the original disks and produced a reissue from them in 1999. That reissue was controversial, as many of the problems of reproducing 1930's era transcription disks were not dealt with as well as they might have been.
So matters stood until recently, when Seth Winner, one of the most experienced historical transfer engineers around, came into possession of the original transcription disks. At this AES New York section meeting Vincent Pelote and Mr. Winner will discuss the importance of this concert, the origins of this particular set of discs, and the problems that are present in this source as well as in all the previous re-masterings. We will hear audio examples illustrating both the problems that are present and the digital techniques that can be used to restore the sound for possible future reissues.
Posted: Monday, September 28, 2015
Past Event: "UNDERSTANDING COPYRIGHTS" A Panel Discussion about Music Royalties, Rights & Trademarks
June 9, 2015 at 7:00 pm
Location: The New School for Jazz Performance, 55 West 13th St
Moderated by: Ray Archie, CEO of MixLuv, Inc.
Speaker(s): artist, Richard Barone; engineer, producer, and song-writer, Jack Douglas; Deezer’s VP of Music Rights and Label Relations, Julien Simon; entertainment & trademark attorney, Keith A. Weltsch, Esq.; S-Curve Records head and GRAMMY-winning producer, Steve Greenberg; SESAC’s VP of Writer/Publisher relations, Linda Lorence-Critelli.
The New York Section of the Audio Engineering Society, The Recording Academy’s New York Chapter, and The New School for Social Research will present a panel discussion on ‘Understanding Copyrights’. From the “Fair Play, Fair Pay Act” to promises of digital royalties for Producers, Mixers, and Engineers, new bills in Congress seem to guarantee a new brighter horizon for many who have not enjoyed this type of revenue in the past. But is this future so promising? This panel discussion will explore details of these new house bills as well as touch on under-utilized or unclaimed revenue based on existing royalty, rights, and trademarks.
You must RSVP by clicking More Information below to attend. Space is limited.
Posted: Friday, May 22, 2015