|Chair:||Jim Kaiser||Send Email|
|Vice Chair:||Andres A. Mayo||Send Email|
|Vice Chair:||Kimio Hamasaki||Send Email|
|Vice Chair:||George Massenburg||Send Email|
|Forum:||Committee Discussion Forum|
The committee offers the expertise of its international members, representing the professional studio community, to the research, development, and manufacturing segments of the Society. It aims to collaborate with other technical committees in establishing equipment evaluation and testing procedures that reflect the real-world conditions of professional use. It seeks to evaluate and recommend procedures and practices relevant to production, as well as to suggest new tools and areas of investigation essential to the advancement of professional audio production. The committee intends to become a forum that networks members of other professional organizations.
The TC on Recording Technology and Practices helps to maintain a Topic Website on Recording Technology and Practices.
This committee is associated with the following sessions
at AES New York 2017:|
• Recording Studio Design Addresses Immersive Audio Production
• Modern Classical Production
• The Do's & Don't of Modern Vinyl Production
• METAlliance - Yesterday, Today and Tomorrow: Where We've Been, Where We Are, and Where We're Going?
• Raw Tracks: Modern Pop Production
• The Recording Academy P&E Wing Presents: High Resolution Record Production and Why it Matters
• Microphones - Can You Hear the Specs?
• Raw Tracks
• Mastering for the New Paradigm: High Resolution Audio, Streaming and High Resolution Streaming
• Raw Tracks: Stayin' Alive: Recording the Bee Gees "Saturday Night Fever"
• Come Together: Concepts in Audio Normalization
• 192dB DR, 32bit/DXD Ultra High Resolution Capture, Processing and Mastering Workflow for MQA, DSD and Future High Resolution Archiving and Delivery
• Music Mixing, Part 4
• Al Schmitt & Kat Edmonson: The Engineer/Artist Strategy
• Lunchtime Keynote: Emily Lazar—More Cowbell? Trusting Your Sonic “Gut”
• AESx Talks
• Mastering 201:Beyond the Basics
• Evolution of Album Production from Start to Finish
• Raw Tracks: the Sound of Philadelphia (TSOP)
The Technical Committee of Studio Practices and Production is currently collaborating with the Producer's and Engineers Wing of the Recording Academy in several areas.
In the area of Master Delivery Recommendations, we support a best-practices document that is released to both the AES and the NARAS constituencies.
Also, we are currently developing high-resolution, surround demonstrations for the upcoming AES Convention in San Francisco in the fall of 2006. These demonstrations will be hands-on with broad interaction between the audiencees and well-known practitioners in the field.
These documents do not necessarily express the official position of the AES on the issues discussed at these meetings, and only represent the views of committee members participating in the discussion. Any unauthorized use of these publications is prohibited. Authorization must be obtained from the Executive Director of the AES: Email, Tel: +1 212 661 8528, Address: 551 Fifth Ave., Suite 1225, New York, New York 10176, USA.
Description: Draft minutes from AES 141st in LA
Description: TC-RTP Minutes AES 139th NY 2015
Description: Draft minutes 10.31.14
Description: Meeting Minutes
Description: Draft Minutes 124th AES Amsterdam
1999-10-28 Requirements for multichannel mix room
Description: Requirements for multichannel mixing room new ver
2006-10-16 METHODS TO ELIMINATE THE BASS CANCELLATION BETWEEN LFE
Description: We have identified the problem of the degradation of bass sound from the main channel, caused by the influence of LFE, and we have proposed a solution.
1999-10-23 An Integrated Approach to Metering, Monitoring, and Levelling Practices
Description: by Bob Katz For the last 30 years or so, film mix engineers have enjoyed the liberty and privilege of a controlled monitoring environment with a fixed (calibrated) monitor gain correlated to a metering level of 0 VU. The result has been a legacy of feature films, many with exciting dynamic range, consistent and natural-sounding dialogue, music and effects levels. In contrast, the broadcast and music recording disciplines have reached a state of chaos at the end of the 20th century. The author proposes an integrated system of metering and monitoring that will encourage more consistent levelling practices among the three disciplines. This system handles the issue of differing dynamic range requirements far more elegantly and ergonomically than in the past. On the threshold of the introduction of a new, high-resolution consumer audio format, we have a unique opportunity to implement a 21st-century approach to levelling. Such a system will also aid production personnel in creating meta-data.
|Akira Fukada||Al Schmitt||Bob Katz|
|David Ackerman||Dietrich Schuller||Doug Sax|
|Tom Scott||Stanley Lipshitz||Kunimaro Tanaka|
|Francis Rumsey||Lars Gaustad||Hiroaki Suzuki|
|Kimio Hamasaki||Toru Kamekawa||Shawn Michael|
|James J McTigue||Wieslaw Woszczyk||Mick Sawaguchi|
|George Massenburg||John Spencer||Jim Kaiser|
|Vincent A. van Haaff||Jim Anderson||Stefan Shibata|
|Richard King||Kyle Lehning||John Oh|
|John Sorensen||Carlos Garza||Glenn Lorbecki|
|Andres A. Mayo||Helmut Wittek||Alison Booth|
|Craig Anderson||Nicolas Hans||John Klett|
|Jonathan Wyner||Jamie Angus||Alex Case|
|Chris Goosman||Maureen Droney||Anand îyer|
|Thomas Lund||Rob Toulson||Elliot Scheiner|
|Hank Williams||James Sullivan|
To request membership in this Technical Committee please email the Chair by using the link above.