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On the Student pages you will find information collected and provided by student members of the AES who have been elected officers of the Student Delegate Assembly (SDA). Find out more about us here.

If you are an AES student member, this is the place where you can get informed about student related topics. Also, every student is invited to help keeping these pages a vivid and up to date resource by sending us interesting news and reports from your AES Student Section. 

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AES 136 - Meet the Winners #4: Matthias Kronlachner

Meet Matthias Kronlachner from Graz, Austria, who received a Gold Award in the Student Design Competition.

Tell us a little bit about yourself: Where are you from? What do you study? How did you discover your passion for audio software design?

I am from Austria and have just finished my master studies in Electrical Engineering and Audio Engineering at the Technical University Graz and the University of Music and Performing Arts Graz.
I grew up in a musical family and since my childhood I was interested in playing and recording music, as well as electronics and computers. As such, you would always find me either operating a soldering iron, the computer keyboard, the clarinet or the electric bass guitar. And this is still the case, although the computer keyboard is now the most likely.
My motivation for developing audio software is to implement my sonic ideas. If I can not realize my concepts with the available tools or it is too cumbersome I create those tools by myself.

 

Tell us about your project. What is it? What is the story behind it? What was it inspired by? How long did you work to design and implement it? Was it your first entry?


I developed audio plug-ins for creating and modifying surround recordings and listening to them using Higher Order Ambisonics. This toolset allows to position sound sources around the listener in 3D or to record and modify sound scenes with microphone arrays. The surround recordings are independent of the loudspeaker placement and you can render them for various loudspeaker layouts as well as for headphones. Furthermore, I implemented some general purpose multichannel plug-ins for manipulating arbitrary numbers of input/output channels which is very convenient if you work with a large number of loudspeakers or dense microphone arrays.
I have been working intensely on spatial audio since about two years and various unreleased prototype plug-ins popped out during this time. I keep changing and extending the project, so it is hard to estimate how long exactly it took me to develop this suite. 
This project was my first entry to an AES competition.
 

Accidents happen: What was your biggest mistake during a project what did you do to redeem the situation?
 
At some point you have to decide which limitations you impose on your design in order to make it easily usable. I try to make things as general purpose as possible. While this is great for expert users, it makes it very hard for the less experienced. I still don't know how to solve those problems and I am not sure if it is a mistake either. Ask me again in 5 years.
 

What’s your advice for software or hardware designers who are just starting out?
 
Follow your concept, talk to as many people as possible about your ideas, but listen to your inner feeling in the end. Look what is out there already and try to understand the design decisions as well as the technical aspects behind it.
 
 
What do you like about the AES? How does it help you to become a better and more successful designer and audio engineer?
 
The conventions bring together a wide variety of people. You can learn about the experience of practical users as well as getting deep insights into the algorithms from scientists and developers who build the foundation of the audio industry. After attending a convention you will definitely think different about your daily tasks and it will help to improve your work.
 
 
Tell us about your favourite experiences at the 136th AES Convention in Berlin!
 
Talking to the judges of the Design Competition and getting feedback from them. Great personalities with a lot of experience from different fields of audio engineering!
 
 
What are you up to when you’re not doing anything related to audio?
 
Hiking in the mountains, enjoying nature and jumping into water, cooking, listening to the environment and to people.
 
 
Where do you see yourself in 10 years?
 
Working somewhere on making things sound better, whether it is music, cars or your living room.
 
 
Thank you, Matthias, and congratulations again! Any last words?
 
Thanks for providing the opportunity for students to present not just recordings but also their technological achievements from this sector. I think the design competition is at least as valuable as the recording competition as it is providing tools the recording people can use in the first place.
 
 
Watch the plug-ins in action in this compilation of surround sound compositions by students of the Lithuanian Music and Theatre Academy.
 
The software is available from Matthias's website

 


Posted: Monday, July 21, 2014

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AES 136 - Meet the Winners #3: Hasan Sercan Atli

  

Meet Hasan Sercan Atli from Istanbul, Turkey, who received a Bronze Award in the Student Recording Competition, Category II (Traditional Studio Recording).

 

Tell us a little bit about yourself: Where are you from? What do you study? How did you discover your passion for audio?

I was born in Turkey’s Capital, Ankara, where I also graduated from Atilim University as a civil engineer last year and then I moved to Istanbul for my Master’s degree. I'm currently studying Audio Technologies at Bahçesehir University. I'm also working on the CompMusic Project (Computational models for discovery of the World’s Music) as a research assistant for the Turkish Makam Music team.

In high school, I had a rock band with my friends. I both sang and played guitar. We attended many local and big competitions. This was my first experience with mixers, recording and live music equipment, at music studios and concerts. My interest started at that time.  

I’m very new to sound technologies. I have been working in the studio for just 8 months: recording, mixing, and a little bit of mastering. I love working in the studio, but I'm also eager to learn live sound engineering. 

 

Tell us about the production of your submission. 

The project that I submitted, "Sabah", is one of Nil Ipek Hülagü’s songs. I told my supervisor about the Recording Competition and we asked Nil to record her to attend competition. Nil is a singer-song writer and famous in Istanbul. She has a great voice and has been working with great musicians. She will be recording an album this summer.

I recorded two of her songs for the Recording Competition, and “Sabah” was selected to be submitted. It was my first project as an engineer, which made it very special. 

 

What was your most significant/funny/inspiring experience as an audio engineer?

One of these happened during Nil’s vocal recording session in the department’s music studio. I set up a condenser microphone and set its polar pattern to cardioid. But I didn’t recognize that I placed its backside to Nil. We were very short on time and I could not solve the problem for a while. It sounded like her voice came from the next room and I had to set the preamp gain very high to hear her. I was afraid that I broke Neumann U87 for a moment. Then we solved it and continued the recording.

 

Accidents happen: What was your biggest mistake in a production and what did you do to redeem the situation?
 

I once recorded a jazz trio for a documentary. It was my first time recording for a movie and I completely forgot to record it with 48kHz samplerate. It was not a major problem but the director did complain about it.

 

What’s your advice for engineers who are just starting out?
 
I’m also a very new engineer, but I would advise them to try new things, and not to depend on rules and books – just trust your ears, be patient, always listen and work hard.

 

Tech talk: What are your favourite pieces of equipment (microphones, outboard, plugins), and why?
 
Condenser Microphone: AKG C-414 because of its frequency response.

Dynamic Microphone: Electro-Voice RE20

Outboard: CraneSong STC8 Compressor because of its great presets, and Manley Massive Passive Stereo Tube EQ for tube color.

Preamp: Universal Audio 2-610 Tube Preamplifier, of also for the tube color

Apogee converters and Dynaudio Air Series for reference monitors. 

 

Can you name one or multiple of your favourite recordings or productions and tell us why you like them/what you like about them?
 
Jamie Cullum's album "The Pursuit". It sounds very natural. I don’t like too processed works that damage the musicians' performances. I love its dynamic range. 

 

What do you like about the AES? How does it help you to become a better and more successful audio engineer? 

The AES brings together both academia and industry. Also, AES gives you the opportunity to meet, talk and listen to many exceptional and experienced people. This was my first time in both the convention and the competition, but I want to attend all of the conventions in future.

 

Tell us about your favourite experiences at the 136th AES Convention in Berlin!

The recording competition, of course. Presenting my work and receiving feedback from the judges was the highlight of the convention.

 

What is your favourite frequency?
 
2 kHz and the 'air' region are my favourites.

 

What do you do when you’re not in the studio or doing anything music related?
 
I spend time with my friends and my family. I go out to parks for walking or running with my dog and reading.

 

Where do you see yourself in 10 years?

In a university as academic staff and in a studio as a sound engineer.

 

Listen to Hasan's submission here

 

Find Hasan on Facebook, Linkedin, or send him an email


Posted: Monday, July 14, 2014

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AES 136 - Meet the Winners #2: Diego Fagundes

 

Meet Diego Fagundes from London, United Kingdom, who received a Gold Award in the Student Design Competition.

 

Tell us a little bit about yourself: Where are you from? What do you study? How did you discover your passion for audio?

Diego Fagundes at the award ceremony

I had my first experience with sound recording in 1994, at the age of 12, in my hometown Bagé in Southern Brazil. As a piano player, I formed a band with my two brothers and started recording rehearsals with a Tascam Porta One four-track cassette tape recorder given to me by my father. During the following years we wrote and recorded a number of tracks and submitted them to several record labels, which helped us to secure a deal with Antídoto/Polygram Records in 1996. Later that year, I did my first recording at ACIT studios in the city of Porto Alegre. That was a huge learning experience as I had the opportunity to observe and learn about recording techniques, microphones, analogue consoles and tape recorders, and got to work with professional sound engineers and music producers in a professional recording studio environment. In 2000, I started a degree in Marketing and Advertisement at URCAMP University in southern Brazil and simultaneously set up my own recording studio, called SG Studio, where I recorded local bands, produced jingles and created commercial audio content for radio and television.

In 2009, I came to the United Kingdom to undertake a degree in ‘Sound Engineering’ at SAE Institute London. There, I started exploring ‘Pure Data’ visual programming language to create interactive applications and multimedia works. Since then I have developed numerous applications strongly influenced by music, animation and cinema; usually mixing live performances and immersive environments with real-time interaction. I am currently developing new projects as well as working towards my PhD in Arts and Computational technology at Goldsmiths University in London.

 

Tell us about your project. What is it? What is the story behind it?

The ‘Interactive Art Gallery’ was my second entry in an Audio Engineering Society Student Design competition and I am trilled do have received the ‘Gold Award’ for the second consecutive year. This year, my project consists of an interactive screen-based platform to display works of art. My original idea was to translate paintings into sonic landscapes created with the combination of music score and sound design. During the development process I have also started exploring the use of narrative; ultimately, it opened up a new set of possibilities and after six months of work I created the ‘Interactive Art Gallery’.

The Interactive Art Gallery: an exploration of Picasso's Guernica

Diego's App: The 'Interactive Art Gallery'. Shown here is an exploration of Picasso's Guernica

 

What's your advice for software or hardware designers who are just starting out? 

Follow your intuition, work hard and be patient. 

 

·      What do you like about the AES? How does it help you to become a better and more successful designer and audio engineer?

The best thing about the AES is that it is a gigantic network. Therefore, it allows you to be in contact with other professionals and have access to the latest research and developments in the audio field.

 

Tell us about your favourite experiences at the 136th AES Convention in Berlin!

My favourite experience was the opportunity to display my work to a wide audience and to receive valuable feedback from recognised artists, engineers and researchers from the audio industry.

 

What are you up to when you're not doing anything related to audio?

I like being with my family and friends, reading, running and travelling.  

 

Where do you see yourself in 10 years?

In the recording studio. 

 

Check out the Interactive Art Gallery and an excerpt from A Walk Through the History of Bagé in this video

 

Diego's music production work: 

Chapa / Glimpse of Light - Drums Recording @ SAE London

Chapa - The Best In Town

Chapa - interview (Creation Room)

 

If you want to get in touch with Diego, just send him an e-mail.  


Posted: Monday, July 7, 2014

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