AES New York 2007 Friday, October 5, 1:30 pm — 3:00 pm
Master Class Details
M1 - HENRY OTT
Henry Ott, Henry Ott Consultants - Livingston, NJ, USA
Audio Interconnections—Dispelling the Myths
High signal-to-noise ratio is an important goal for most audio systems. AC power connections, however, unavoidably create ground voltage differences, magnetic fields, and electric fields. The class will cover cabling, grounding, balancing, and shielding issues in audio interconnections for electromagnetic compatibility and maximum signal integrity. Design ideas will be given to insure the ability of a device, product, or system to operate properly in its intended electromagnetic environment, without degradation and without being a source of interference.
Saturday, October 6, 12:30 pm — 2:00 pm
M2 - KEITH O. JOHNSON
Keith O. Johnson, Reference Recordings - Pacifica, CA, USA
The Art and Science of Making and Playing Great Recordings— The High Resolution Experience
A listener’s emotional involvement with a recording and its reproduction depends on intangible factors such as imaging, transparency, articulation, and delineation. A brief overview shows how these features pose design and performance issues with halls, microphones, electronics, processes, and loudspeakers. Tests that fit each component are described and perceptual hearing models are introduced to interpret results. Topics, presented from a multichannel perspective, include how instruments, halls, and visual cues create a live concert experience and how microphone choices, placements, and mix-in strategies can constrict or expand a soundscape. Other topics include time corrected stereo accenting and eigensonic corrected loudspeakers for supplemental hall driving as well as reduction of loudspeaker presence and front biased imaging from playback systems.
Saturday, October 6, 3:30 pm — 5:00 pm
M3 - MICHAEL BRAUER
Michael Brauer - New York, NY, USA
Mixing—- From Rough Mix To “Yogi”
Michael Brauer is an accomplished and eclectic mixer with mix credits that include Luther Vandross, Aretha Franklin, The Rolling Stones, Aimee Mann, Coldplay, Ben Folds, and John Mayer’s critically acclaimed CD “Continuum.” Michael will talk about some key aspects of mixing that cannot be purchased in a box, whether hardware or software—the human aspects. How do you prepare yourself to mix a song that you are hearing for the first time? How do you balance the power of sitting at the console with the need to remain humble when discussing the song and mix with the artist? How do you work not only with the tracks, but also with the needs and personalities of the band, manager, and A&R? How do you make the leap from a mix that just documents the song, to one that brings out its spirit and message? Michael will also talk tech about his multi-stage/multi-buss mix technique and also show how to adapt it to mixing “ITB” with Pro Tools. He might even explain the term “Yogi.”
Saturday, October 6, 5:00 pm — 6:30 pm
M4 - BRUNO PUTZEYS
Bruno Putzeys, Hypex Electronics - Rotselaar, Belgium
Hard Earned Design Secrets—Reconciling the Objectivist and Subjectivist Points of View
Topics to be discussed:
• Revealed Preference: aligning philosophical preference with actual behavior. Your listening habits tell you whether you're after transparent reproduction or emotionally engaging sound—- whether you like it or not.
• Op amp theory refresher: Understanding how they work, not what they're made of. An intermediate level of abstraction between the "three pin triangle" and the transistor implementation simplifies analysis and understanding.
• The op amp's two dirty little secrets: PSRR and input common-mode distortion— opportunities for improving amplifier performance by discrete implementation.
• Minimalist design, or not—When adding more parts really helps.
• When Does Negative Feedback Sound Bad?
• Intelligent Design in Audio: Recipes for success and disaster in co-developing and subcontracting audio electronics.
• Assessing EMI behavior in class D amplifiers.
• Requirements for switch-mode power supplies for audio.
• That Digital Sound: Deviating from theory is the problem, not the solution: an exposé of digital filtering and its relation to "the digital sound.”
• Asynchronous Sample Rate Conversion: The fine print: it's only 99% digital.
• Digital loudspeaker EQ and cross-over: Just another tool in the box. Do's and don'ts of designing DSP filters for loudspeakers.
Sunday, October 7, 11:00 am — 12:30 pm
M5 - OLIVER ARCHUT/KLAUS HEYNE
Oliver Archut, TAB-Funkenwerk - Gaylord, KS, USA
Klaus Heyne, German Masterworks - Portland, OR, USA
Vintage Microphone Mystique—How Sex Appeal Trumps Specs
The current phenomenon of frequently using fifty-year old microphones in critical recording applications, from pop vocals to classical symphony orchestras, is unprecedented and seemingly illogical in a world of rapidly evolving recording technologies. Oliver and Klaus will examine why, subjectively and objectively, recording microphones seem to occupy this uniquely antiquarian role. They will also discuss how and why many of today's manufacturers yield to the demand and desire of the recording community for microphones from yesteryear by issuing products that emulate the past.
Sunday, October 7, 1:00 pm — 2:30 pm
M6 - KEN HAHN
Ken Hahn, Sync Sound - New York, NY, USA
Advanced Ideas and Techniques in High-Definition Surround Music Postproduction for Film and Television
Ken Hahn is co-owner of Sync Sound®, Inc., a New York City audio post-production facility, which he founded with partner Bill Marino in 1984. He has more than 30 years of experience mixing and editing audio and has received five Emmy Awards, three Cinema Audio Society's Outstanding Achievement in Sound Mixing Awards, Mix Magazine's Tec Award for Best Audio Post Production Mixer, and has engineered several Grammy Award-winning albums. Recent credits include Britney Spears, The Dixie Chicks, Janet Jackson, Garth Brooks, Gypsy Kings, Billy Joel, Reba McEntire, The Eagles, Billy Joel, Carly Simon, Cyndi Lauper, Roger Daltrey, Tony Bennett, and Michael Jackson.
Please join him for a program that will cover such topics as: How to achieve 5.1/stereo/mono compatible mixes; the reasons why everyone should work at a fixed monitoring level; how to achieve a mix that both you and your client are satisfied with; audio postproduction “tools of the trade”; dealing with delivery specs and how they dictate workflow; is louder really better? Along with many other topics…