In This Section
- Eastern Region, USA/Canada
- VP: Robert Breen
- Central Region, USA/Canada
- VP: Michael Fleming
- Western Region, USA/Canada
- VP: Jonathan Novick
- Northern Region, Europe
- VP: Bill Foster
- Central Region, Europe
- VP: Nadja Wallaszkovits
- Southern Region, Europe
- VP: Umberto Zanghieri
- 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.
November 26, 2013 at 12:00 pm
Location: The Dolby Theatre 1350 Ave of the Americas.
Moderated by: Kenneth R. Hunold Dolby Laboratories, Inc.
Speaker(s): Tom Kodros, Senior Manager, Content Services Dolby Laboratories, Inc.
Last year, at our May meeting, Charles Robinson of Dolby Laboratories discussed the new cinema audio system called Dolby Atmos. Since that time, over 70 motion pictures have been produced in the format, and around 1000 theatres worldwide (about 700 in North America) have installed the system hardware.
This month, our Section will have a rare afternoon meeting that will feature actual demonstrations of the system in the Dolby Theatre in New York. This theater has been rebuilt with the Dolby Atmos system. Tom Kodros, Senior Manager, Content Services will lead the discussion and give the presentation.
The primary topic of discussion at the meeting will be the technology that allows the design features of the system to be implemented. There will also be a tutorial demonstration of the system, and clips from some of the films that have been produced in the system, courtesy of the studios. There will be time for questions and answers about the system and the installation.
- Please note the special time of this meeting - 12 Noon on Tuesday November 26th.
The Dolby Theatre is located at 1350 Ave of the Americas. The entrance to the building is on the southeast corner of Avenue of the Americas and 55th Street. The theatre is on the main floor. We hope to see you there.
Posted: Tuesday, November 19, 2013
October 15, 2013 at 7:00 pm
Location: The New School University Jazz Performance Space 55 West 13th Street, (between 5th & 6th Avenues) 5th Floor New York, NY
Moderated by: Ron Ajemian, Owl Fiber Optics, NY
Speaker(s): Dominique Brulhart, Merging Technologies - Puidoux, Switzerland; Morten Lindberg, 2L (Lindberg Lyd AS) - Oslo, Norway; John Newton, Soundmirror - Jamaica Plain, MA, USA
With the recent release of 11.2 MHz Quad-DSD production tools, more than a decade of DSD and DXD productions and the rapidly growing availability of DSD and DXD material available for download on the market, there is a constant debate in both the professional and the audiophile sector about the difference between DSD and PCM and ultimately which one “sounds better.” This panel would like offering the opportunity to two known specialists of these formats, John Newton from Soundmirror and Morten Lindberg from 2L, to present some of their recordings and discuss about their experience making productions in DSD and DXD. Recent recordings in 11.2 MHz DSD, and DXD will be presented and recording, editing, mixing, and mastering techniques and considerations using DSD and DXD will be discussed and compared.
Posted: Tuesday, October 8, 2013
June 11, 2013 at 6:30 pm
Location: The New School for Jazz Performance, 5th floor 55 West 13 Street, New York, NY, USA
Moderated by: Robert Auld, AuldWorks
Speaker(s): Doug Pomeroy, Pomeroy Audio; Seth B.Winner, Seth B. Winner Studios; Andreas Meyer, Meyer Media; Bob Shuster, Shuster Sound
Join us for a Meet & Greet at 6:30pm
55 West 13 Street
between 5th & 6th Avenues
When it comes to audio restoration, it is the best of times and it is the worst of times (with apologies to Charles Dickens). The increasing capabilities of computers and audio software make it possible to restore historical and damaged sound recordings in ways that were not possible before. Not only can we remove clicks, pops and hiss (while producing less in the way of unwanted artifacts than previously), but now even discrete, unwanted sounds, like audience coughs in live concerts or other background noises, can be excised with little or no effect on desired program material. Previously insoluble problems with pitch can be fixed, even the frequency response and phase issues of old microphones and recording methods can be addressed to a surprising degree. Compared to the limitations of analog methods of restoration, the digital revolution is a big improvement.
And yet, we are in danger of losing access to our recorded heritage. The tape and disc players that allowed high quality playback of older audio formats are no longer made, are becoming older, replacement parts are becoming unavailable and, most important, the expertise to keep the machines running is dying off as the generation that built and maintained them passes from the scene. The major record labels that made most analog recordings have been reorganized out of recognition, with most of the institutional memory of giants like RCA, Columbia, EMI, etc., disappearing into faceless corporate conglomerates. In the United States, existing copyright law makes the issuing of newly discovered historical material a legal nightmare. Copyright issues are handled somewhat better in the European Union, but we don't live there.
Join us on June 11th, when the monthly meeting of the New York AES section will discuss these issues, with the help of an expert panel of audio engineers from varied corners of the industry.
Posted: Tuesday, June 11, 2013