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Bea starts the meeting with an explanation of AES on a broad scale. She talks about how AES sets the standards for the audio industry, hosts events, and exists as a trade organization for audio professionals. She talks about how, through AES, industry professionals are able to visit schools like CRAS and share their knowledge with students. She then moves into an explanation of the discounts available to CRAS students for AES membership. Where normally membership would cost $125, CRAS students are able to pay only $50 for their first year of membership. Bea talks about the resources available through the AES website for paid members, including in depth articles about subjects both niche and universal.
Bea introduces the new Apogee and Eventide plugin bundle for CRAS students. From Apogees catalogue and select plugins from Eventide, CRAS students will gain access to new and exciting resources at the start of their 5th cycle. She also explains the oeksound plugin bundle being offered to 10th cycle students. She then introduces AES' new event, the Sample Flip Challenge.
Sol introduces the challenge with the basic rules. At the start of each cycle, the board is going to send out a small sample pack through the AES email chain to all attending members. In week 1, all samples are distributed. During week 2, discussion will be opened for members to talk about what they've done so far. During week 3, members will display their creations and flips for the group. Sol then plays through the samples to give members a taste of what they'll be working with for this cycle. This week's samples include a digital closed hi-hat, an acoustic recorded snare, a synth pad, and a remake of a bass used in Dashstar by Knock2.
Bea opens up about a need for officeholders, seeing as most of the current officeholders are in higher cycles and will be leaving the program soon. She explains that an officeholder position comes with a signed letter of recommendation, prime resume experience, and great networking opportunities for the world of professional audio. After the brief tangent, Bea opens the floor for introductions. The questions include name, cycle, pronouns, and the question of the week: "What is your favorite piece of sound design from any piece of media?". Answers range from the "puzzle solved!" sound from Zelda games, to "Yoink" from Purple Lamborghini.
After introductions, Bea puts the contact information for the current officeholders on the screen so all members can contact any of the board members. Sol reiterates that all sample flip submissions should be sent to their email to be included in the sample flip exhibition on week three. After the officeholders information is given out, Bea talks about the mentorship program available at CRAS. She explains that most current officeholders are mentors, and mentors exist to help all students, not just ones who are struggling. She shows where on the website students can find a mentorship contact form, as well as reiterating that it's important to reach out if you need help, any way you can.
Bea then dives into a segment explaining the subgroups. She hands it off to each subgroup leader to explain their subgroup. Star explains the sound design subgroup. Star explains that in the subgroup, they learn about sound design in music primarily, from synthesizing drums to creating interesting leads, its all available for anyone who wants to learn. Mikey explains the jammin subgroup. He books out an available studio, both live room and control room, and sends out an email 48 hours ahead of time to all members! He brings some instruments and sets up microphones for more people, then any attendees are encouraged to take part in jamming out or recording. Sol explains the EDM production subgroup. He talks about how flexible the schedule is, ranging from talking about releases and local shows to explaining some of the tips and tricks of producing EDM, as well as offering resources for anyone who wants to dive more in depth. Bea explains the guitar and bass subgroup. She talks about how it used to be a technical subgroup, but is now branching out into a general guitar and bass subgroup. She talks about resources for music theory, guitar and bass music, and the option for people to still learn about that technical side if they would like.
Bea then hands it off to Sol for a production tip of the week! Sol talks about using distortion and noise to add texture and depth to low end. He shows off a bass patch made with a serum patch and Ableton processing. He walks through each plugin, from a saturator to erosion, then a simple high-pass EQ. Through those plugins, Sol demonstrates the importance and application of adding distortion to low end instruments. This creates a wide frequency response and sense of depth. This effect can also be adjusted to taste, allowing people to customize their sound for their own music.
Bea then ends the meeting with an encouraging message for all attendees. She urges them to network and make connections with other members!
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