AES New York 2009
Master Class Details

Friday, October 9, 11:00 am — 1:00 pm

M1 - Berners & Abel

Jonathan Abel
David Berners

Analog Circuit Emulation for Plug-in Design

David Berners and Jonathan Abel, both of the Center for Computer Research in Music and Acoustics and Universal Audio, are two of the foremost experts in digital modeling and the software emulation of classic analog audio circuitry. They will share insights, approaches, and techniques involved in their creation of some of the production community’s most widely used analog emulation algorithms.

Friday, October 9, 2:30 pm — 4:30 pm

M2 - Alex Case

Yesterday's FX Today

With affordable digital audio tools being continuously invented, refined, improved, extended, and upgraded, we are lucky to be a part of the audio industry at this moment. We have no excuse not to create original, beautiful art. What we do with today’s ability to do anything can be informed by the creative and technical achievements expressed in touchstone recordings decades ago. This master class takes a close look at some iconic moments of signal processing innovation in recorded music history, undoing, isolating, and analyzing the effects for our edification.

Saturday, October 10, 9:00 am — 11:00 am

M3 - Dennis & Olhsson

Bob Dennis
Bob Olhsson

Mastering The Motown Sound

Bob Dennis and Bob Olhsson were the engineers charged with mastering the records that helped Motown become a new sound heard around the world. In conjunction with Motown’s 50th Anniversary, this master class presents a rare opportunity to learn how it was done. These engineers were able to cut the loudest and cleanest records of the early 60s establishing the “Loud and Clear” standard with the Supremes first #1 hit. A simple psychoacoustic principle was used for level manipulation in both mixing and mastering to raise the perceived loudness done primarily without the use of compression and limiting. Mr. Dennis and Mr. Olhsson will show how the Motown approach can be applied to mastering today.

Sunday, October 11, 2:30 pm — 4:30 pm

M4 - Bob Hodas

Bob Hodas

Wrangling the Room

Acoustician and studio musician Bob Hodas has traveled the world tuning over a thousand rooms from Tokyo for Sony Entertainment, to London for Abby Road, and Stateside for Blackbird and Lucasfilm. The focus of the master class will be the loudspeaker/room interface and optimizing system performance. A slide presentation will demonstrate the frequency and phase response of loudspeakers placed properly and improperly in a room. Integrating subwoofers with the main speaker system for both stereo and surround systems will be covered, as will be equalization and what types of acoustic treatments to use and how to determine their proper placement.

Sunday, October 11, 5:00 pm — 7:00 pm

M5 - Kevin Killen

Kevin Killen

Platinum Mixing in the Box

Is it possible to mix a million selling record in a bedroom? Kevin Killen (U2, Sugarland, Peter Gabriel) has. His background in the analog domain and transition to the digital environment has enhanced his reputation as a world-class mixer. Discover some of his techniques and how technology, budgets, and past experiences have shaped his approach to the ever evolving challenges of the marketplace.

Monday, October 12, 2:30 pm — 4:30 pm

M6 - Bill Whitlock

Bill Whitlock

The Design Of High-Performance Balanced Audio Interfaces

High signal-to-noise ratio is an important goal for most audio systems. However, AC power connections unavoidably create ground voltage differences, magnetic fields, and electric fields. Balanced interfaces, in theory, are totally immune to such interference. For 50 years, virtually all audio equipment used transformers at its balanced inputs and outputs. Their high noise rejection was taken for granted and the reason for it all but forgotten. The transformer’s extremely high common-mode impedance—about a thousand times that of its solid-state “equivalents”—is the reason. Traditional input stages will be discussed and compared. A novel IC that compares favorably to the best transformers will be described. Widespread misunderstanding of the meaning of “balanced” as well as the underlying theory has resulted in all-too-common design mistakes in modern equipment and seriously flawed testing methods. Therefore, noise rejection in today’s real-world systems is often inadequate or marginal. Other topics will include tradeoffs in output stage design, effects of non-ideal cables, and the “pin 1 problem.”