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.
Location: NYU Steinhardt, Music Tech Dept. 35 West 4th St., 6th floor
Moderated by: Robert Auld
Speaker(s): Barbara Haws, New York Philharmonic; Seth B. Winner, Audio Engineer
Barbara Haws has been the N.Y. Philharmonic’s archivist for the past 34 years. During her tenure, four historic broadcast sets of the orchestra were produced and issued; two of them were nominated for a Grammy award. In 2012 Barbara commissioned Seth Winner to preserve a further series of live historic broadcasts, in a project which was funded by the Grammy Foundation. The first batch was done in 2014 and a second go-round has just been completed. This evening Barbara and Seth will discuss the importance of this project, as well as the intrigue involved in locating the sources to these legendary recordings. Selected examples from the broadcasts will be played for the audience.
Posted: Monday, June 11, 2018
Location: 35 W. 4th St. 6th floor. NYU Steinhardt, Music Tech Dept.
Speaker(s): Prof. Edgar Choueiri, Princeton University
Prof. Edgar Choueiri, Chief Scientist and Director of Princeton University’s 3D Audio and Applied Acoustics Lab, and President of Theoretica Applied Physics, will give a hands-on workshop at NYU’s Dolan Recoding Studio on the latest tools for mixing and rendering binaural 3D audio for speakers and headphones for applications ranging from recording mix enhancement to AR/VR. Using Theoretica’s industry-leading BACCH-dSP 5.0 (https://www.theoretica.us/bacch-dsp/), Prof. Choueiri will demonstrate the design and use of optimized crosstalk cancellation filters for rendering binaural audio in true 3D over a regular stereo pair of monitors; 3D mixing and binaural content creation with complex 3D imaging using generic and individualized HRTFs; and up-to-fourth-order HOA-to-binaural rendering and 3D sound-field navigation using up to 20-speaker full dodecahedron virtual speaker system and individualized HRTFs, using a 4-th order 32-capsule HOA mic.
Posted: Tuesday, February 27, 2018
Alex U. Case
Location: Studio 510 (5th floor) at the Clive Davis Institute of Recorded Music, 194 Mercer Street, New York, NY 10012
Speaker(s): Alex U. Case, Past President, AES; University of Massachusetts Lowell
Pitch shifting as an audio effect is still maturing, even though the technology was there from the beginning. Recording at one speed but playing back at another has been the pitch shifting modus operandi across all analog formats – cylinders, disks and tape. Digital audio continued these time-domain techniques, exploiting sample rate differences between record and playback. Frequency-domain pitch shifting, offering new effects possibilities, became an important part of the pop engineer’s tool kit in the late 90s.
But what are we to make of the aesthetic? What is the creative potential of pitch shifting? Alex U. Case looks at several iconic examples of pitch shifting effects in pop music. He delivers a listening-guided analysis – integrating the disciplines of music, signal processing, and psychoacoustics – that defines the full range of the effect and how it might find a place in your next project.
Posted: Friday, December 29, 2017