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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.

Our website also contains a list of Past Meeting Reports and an Officer List.

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Past Event: Sound Hearing Practices Bridging the Gap between Audiology and Audio Engineering professionals

February 19, 2015 at 7:00 pm

Location: The New School for Jazz Performance 55 West 13 Street, between 5th & 6th Avenues 5th floor auditorium

Moderated by: Bill Siegmund, Digital Island Studios, LLC

Speaker(s): Julie Glick, Au.D., F-AAA, Doctor of Audiology, Musicians Hearing Solutions David Haines, independent FOH engineer

Musicians, engineers, sales staff, designers, installers and music lovers of all stripes have one need in common: we must understand the sounds we are hearing. However, many of us take for granted the marvelous system our bodies have developed for receiving and processing sound. And some are so casual with the care and maintenance of that system that in the course of our daily lives we end up damaging our ears - the most important tools we have for doing the jobs we love.

Our two guests will take us on a fantastic voyage through our hearing system and talk about functional strategies for hearing protection and preservation, including annual hearing testing, monitoring sound level exposure, custom musicians earplugs and in-ear monitors. Information will be presented from the perspective of the medical profession and real-world professional audio applications. Please join us for what will surely be an informative and “ear-opening” evening.

 Dr. Glick was first introduced to custom in-ear monitors and musicians earplugs when she started her career in a private practice in Los Angeles, California in 1997. Her passion for music and commitment to the field of audiology led her spend time backstage and in rehearsal studios with engineers and musicians of all genres. Through this experience, she has gained great insight and appreciation for all the technical details that go into live musical performances and how important hearing and hearing conservation is to musicians and music fans.

Dr. Glick received her Bachelor of Arts degree in Speech and Hearing Science from The Ohio State University, Master of Science in Communicative Disorders from California State University, Northridge and Doctor of Audiology from the Pennsylvania College of Optometry, School of Audiology. Dr. Glick is a licensed Audiologist and Hearing Instrument Dispenser in the state of New York and a Fellow of the American Academy of Audiology.

David Haines has served as a professional Front of House sound engineer to the worlds leading artists for the past nineteen years. For his graduation project as an audio engineering student at Loyola Marymount University, he recorded the demos for a small unknown LA-based hip hop band, which led to that band being signed to a record deal. That band turned out to be The Black Eyed Peas.  Due to the success and quality of his mixes, The Black Eyed Peas asked him to record their debut breakthrough album, Behind the Front, at Paramount Studios. Mr. Haines has continued as the guiding force behind The Black Eyed Peas live sound, and he is sought after for world tours by other multi-platinum artists such as John Legend, Rihanna and Natasha Bedingfield.

As a sound engineering consultant for Musicians Hearing Solutions, Mr. Haines brings a unique understanding to assist listeners with all of the high end technology available to accomplish demanding performances both with in-ear monitors and front of house equipment.



The event is free of charge

 The first 50 guests will receive a free pair of Etymotic Research ETY Plugs

 Enter the raffles for

a pair of JH Audio Roxanne Universal Fit Earphones

a pair of Ultimate Ears Custom Reference Monitors

Posted: Thursday, February 12, 2015

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Past Event: How the Business of Music Affects the Sound of Records

November 13, 2014 at 7:00 pm

Location: NYU Steinhardt Studios, 35 West 4th St, 6th Floor, New York, NY 10012

Moderated by: Jonathan S. Abrams, Nutmeg Post

Speaker(s): Dr. Simon Zagorski-Thomas, Reader in Music, London College of Music, University of West London

Simon Zagorski-Thomas’ new book, The Musicology of Record Production, looks at the theory behind record production.  He examines both how you can analyse the sound of recorded music and the process of making it.  In this talk he will look at the business of music, both in terms of the industries that produce the technology and the record companies that broker the deals that make productions happen.  How do these business deals make a difference to the actual sound of the recordings that get made?  Using a series of examples, he will explore some of the ideas from his book.


About the Presenter:  Simon Zagorski-Thomas is a Reader at the London College of Music, University of West London. He is a director of the annual Art of Record Production Conference, a co-founder of the Journal on the Art of Record Production and co-chairman of the Association for the Study of the Art of Record Production ( His publications include The Art of Record Production (co-edited with Simon Frith, 2012). Before becoming an academic he worked for twenty-five years as a composer, sound engineer and producer with artists as varied as Phil Collins, Mica Paris, London Community Gospel Choir, Bill Bruford, The Mock Turtles, Courtney Pine and the Balanescu Quartet. He continues to compose and record music and is currently conducting research into the musicology of record production, popular music analysis and performance practice in the recording process.

View Official Meeting Report

The Musicology of Record Production at Cambridge University Press

Posted: Tuesday, November 11, 2014

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Past Event: The Vinyl Resurgence

October 14, 2014 at 7:00 pm

Location: The New School for Jazz Performance, 55 West 13 St, 5th floor

Moderated by: Robert Auld (AuldWorks)

Speaker(s): Scott Hull (MasterDisk), Paul Gold (Salt Mastering), Kevin Boutote (formerly Vanguard Records)

After the introduction of the Digital Compact Disk in 1983, it was only a matter of time until the vinyl LP would be obsolete, a relic of the past like 78's and open reel tapes.  That was what everyone thought.  Indeed, by the mid-1990's, the major record labels had stopped issuing albums as LPs.  Twelve-inch singles hung on because DJs wanted them for "scratching", but the vinyl album was dead—or so it seemed. 

But after the turn of the century, something surprising happened: some artists decided to issue their albums as vinyl LPs as well as CDs.  At first it just seemed like a "niche" thing, but then, sales actually started to increase.  We now find ourselves in an age where, as CD sales and file downloads are dropping off, vinyl album sales are going up, to the point where existing pressing plants are having trouble keeping up with the demand. 

The reasons for this resurgence can be debated, but it is undeniable that there is now a generation of audio engineers and producers for whom the vinyl LP is something new.  It is time for a new look at the strengths and limitations of this venerable audio format.  To that end, we have invited an expert panel to share their experience and knowledge about the making of LPs.

Scott Hull: A 28-year veteran mastering engineer and the owner of Masterdisk studios in NYC, Scott started his career in 1983 and has mastered hit records and classic albums in every genre, as well as many Grammy winning titles. Scott is consistently listed in the top 10 of the Top 100 Professionals list at

Paul Gold: Paul learned his way around the record cutting lathe by working with the late Al Grundy, who knew everything there was to know about how to operate, build and refurbish record lathes and cutter heads. Paul has since founded Salt Mastering and has become one of the go-to guys for vinyl disk cutting on his Neumann VMS-66 lathe.

Kevin Boutote: Kevin is currently chief audio engineer at the Manhattan School of Music. From 1977 to 1980 he was in charge of quality control for vinyl at Vanguard Records.  From 1987 to 1995, Kevin was on staff at CBS Records(Masterworks)/Sony Classical/Sony Music, engineering many front-line classical projects, and mastering reissues for CD, including the MasterSound gold CD series, beginning in 1993.  He will fill us in about what is involved with plating and pressing vinyl records, and related manufacturing issues.


Posted: Monday, October 6, 2014

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AES - Audio Engineering Society