AES New York 2013

Wednesday, October 16, 8:30 pm — 9:30 pm


Organ Concert

Graham Blyth, Challow Park - Wantage, Oxfordshire, UK

Church of Saint Mary the Virgin
145 West 46th Street, NY

Graham Blythe’s traditional organ concert will be given at the Church of Saint Mary the Virgin, founded in 1868. The recital includes works by Marchand, Bach, and Franck.

Audio and Video Downloads Now Available


Thursday, October 17, 1:00 pm — 2:00 pm (Room 1E15/16)

Opening Ceremonies
Keynote Speech

Bob Moses, AES - New York, NY, USA
Jim Anderson, New York University - New York, NY, USA
Josh McDermott, Department of Brain and Cognitive Sciences, MIT

The keynote speaker is Josh McDermott, Department of Brain and Cognitive Sciences, MIT. The topic of his speech is, "Understanding Audition via Sound Synthesis."

Josh McDermott is a perceptual scientist studying sound, hearing, and music in the Department of Brain and Cognitive Sciences at MIT. His research addresses human and machine audition using tools from experimental psychology, engineering, and neuroscience. He is particularly interested in using the gap between human and machine competence to both better understand biological hearing and design better algorithms for analyzing sound. McDermott obtained a BA in Brain and Cognitive Science from Harvard, an MPhil in Computational Neuroscience from University College London, a PhD in Brain and Cognitive Science from MIT, and postdoctoral training in psychoacoustics at the University of Minnesota and in computational neuroscience at NYU. He is the recipient of a Marshall Scholarship, a National Defense Science and Engineering fellowship, and a James S. McDonnell Foundation Scholar Award. He is currently an Assistant Professor in the Department of Brain and Cognitive Sciences at MIT.


Thursday, October 17, 5:00 pm — 7:00 pm (Room 1E15/16)

Producing Across Generations: New Challenges, New Solutions—Making Records for Next to Nothing in the 21st Century

Nick Sansano
Frank Filipetti, the living room - West Nyack, NY, USA; METAlliance
Jesse Lauter, New York, NY, USA
Carter Matschullat
Bob Power
Kaleb Rollins, Grand Staff, LLC - Brooklyn, NY, USA
Hank Shocklee
Craig Street, Independent - New York, NY, USA

Budgets are small, retail is dying, studios are closing, fed up audiences are taking music at will … yet devoted music professionals continue to make records for a living. How are they doing it? How are they getting paid? What type of contracts are they commanding? In a world where the “record” has become an artists’ business card, how will the producer and mixer derive participatory income? Are studio professionals being left out of the so-called 360 deals? Let’s get a quality bunch of young rising producers and a handful of seasoned vets in a room and finally open the discussion about empowerment and controlling our own destiny.


Thursday, October 17, 7:15 pm — 8:30 pm (Room 1E15/16)


Heyser Lecture: George Massenburg

George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada

The Richard C. Heyser distinguished lecturer for the 135th AES Convention is George Massenburg. Massenburg has participated (individually and collaboratively) in over four hundred records over the past 45 years. His studio work has gained him international recognition and four Grammys as well as numerous Mix Magazine TEC Awards. In 1988 he also won the Academy of Country Music Record of the Year Award. George has designed, built, and managed several recording studios and has contributed to the acoustical and architectural design of many other studios, including George Lucas’ Skywalker Sound. In 1982, he founded George Massenburg Labs, a pioneering audio electronics company that has released an extensive range of innovative recording technologies, all based on his original designs. In 1999, he and a partner founded Massenburg Design Works, making high-resolution digital processors and plugins. George was awarded an honorary Doctorate of Music by Boston’s Berklee College of Music. Regularly published in professional journals and trade magazines worldwide, George Massenburg received the Gold Medal from the Audio Engineering Society in 2008. He is a member of the National Recording Preservation Board of the Library of Congress and an advisor to the Committee for Library Information Resources. George serves as the Chief Technical Officer of META (the Music Engineering Technical Alliance). Currently, he is an Associate Professor of Sound Recording at the Schulich School of Music at McGill University in Montreal, Quebec, Canada; a Visiting Lecturer at the Berklee College Of Music in Boston and Valencia, Spain; and the University of Memphis in Memphis, TN. He and his wife, Cookie Rankin, and dog, Charlie, live in Montreal, Quebec.

There are so many advances in technology and science these days, we are quickly overwhelmed with data. From batteries to the brain, new possibilities abound. It’s difficult to know what information is meaningful and how to digest it, not to mention how to apply it in our own best interests. Often it seems we are immersed in irrelevant noise, hesitant to accommodate change.
It used to be extremely expensive to record anything of technical quality. Analog tape machines, ¼”, then ½” then 1” and 2” reels of tape, large-frame analog consoles, microphones, peripheral processing, reverb, relatively good studio acoustics were not affordable to most artists. Also, the expertise (producers, engineers, mixers, mastering engineers) needed to get the best sounds possible out of the air onto the tape—these all cost a lot of money. The technical complexity of recorded music production is magnitudes cheaper now. But for the cognitively complex tasks that traditional producers, arrangers, A&R men and women, and engineers brought to clarify and to enhance artistry in composition and performance the picture is different. It still takes a lot of practice to be good at complex tasks. As Malcolm Gladwell points out, “Talent is important, but achievement is talent plus preparation.” In cognitively demanding fields, there are no naturals, and the making of a quality recording is a process demanding cognitive skills to process musical ideas and then comparing them objectively to retained experience. These areas of cognition/thinking move from and between levels of complexity simultaneously, and seemingly without reason or even awareness–these are tasks for the “right brain.” Unfortunately, along with the disruption of the traditional music industry came the conclusion that there’s little importance in these cognitive skills, and the “10,000 hours” that might be required to refine them is time wasted.
Every week the antiquated record industry trumpets its sales figures and the even more ancient media industry repeats them. But despite the best attempts to discredit the new emerging industry, the supposedly “impossible” is happening all around us as many “unsigned” artists top the sales charts of the digital music stores and sell millions of units of music.
Never before in history has there been an opportunity as we now have before us. And, as Steve Jobs demonstrated, people will pay if you give them a high-quality offering. “Good enough” is no longer good enough. The job is to transform ourselves. Making music requires nimbleness, out-of-the-box thinking, resourcefulness, risk-taking, courage, and skill. And always taking a new approach. Take Neil Young. Now, despite criticism from some in the professional audio sector, he’s proposing a music download-service, player, and audio format, whose aims are "to confront the compressed audio inferiority that MP3s offer," "to present songs as they first sound during studio recording sessions," Dylan says it’s clear why Neil Young has not tumbled into musical dotage: “An artist like Neil always has the upper hand,” he says. “It’s the pop world that has to make adjustments. All the conventions of the pop world are only temporary and carry no weight. It’s basically two different things that have nothing to do with each other.”
There’s no going back. There’s no road map for those hoping to understand possible future roles in music as a profession–it’s still evolving. But there is hope. Music is a part of all cultures around the world. It takes on different forms and is constantly changing–developing in new directions. These fundamental facts are the best proof of the importance of music to mankind. Never before in history has there been an opportunity as we now have before us.


Friday, October 18, 11:00 am — 12:00 pm (Room 1E15/16)


Friday Keynote: The Current and Future Direction of the Recording Process from an Artist, Engineer, and Producer’s Perspective

Jimmy Jam, Flyte Tyme Productions

Five-time GRAMMY Award winner Jimmy Jam is a renowned songwriter, record producer, musician, entrepreneur, and half of the most influential and successful writing/producing duo in modern music history. Since forming their company Flyte Tyme Productions in 1982, Jam and partner Terry Lewis have collaborated with such diverse and legendary artists as Janet Jackson, Mary J. Blige, Gwen Stefani, Robert Palmer, Mariah Carey, Boyz II Men, Rod Stewart, Yolanda Adams, Sting, Heather Headley, Usher, Celine Dion, Kanye West, Chaka Khan, Trey Songz, and Michael Jackson, among others. Jimmy and Terry have written and/or produced over 100 albums and singles that have reached gold, platinum, multi-platinum, or diamond status, including 26 No. 1 R&B and 16 No. 1 pop hits, giving the pair more Billboard No. 1's than any other duo in chart history. Jimmy Jam’s Lunchtime Keynote address will focus on the current and future direction of the recording process from various perspectives. As a songwriter, artist, engineer, and producer, Jimmy is uniquely qualified to give a bird’s-eye view of how each of these “personalities” interact and contribute to the overall final product, and along the way, how technology has evolved and what it has meant to his craft. In Jimmy’s words, “Of course it all starts with a great song, but then, it's important to consider how and what technology should be used to capture that creativity. It’s that intersection between the technology and creativity that I have always looked at every day throughout my career. Ultimately, it’s my job as a artist/producer to have those two elements meet and not crash. And that’s when you're using the available technology to capture the artist in their purest form.”


Friday, October 18, 12:45 pm — 2:15 pm (Room 1E15/16)

From the Motor City to Broadway: Making "Motown The Musical" Cast Album

Harry Weinger, Universal Music Enterprises (UMe) - New York, NY, USA; New York University - New York, NY, USA
Frank Filipetti, the living room - West Nyack, NY, USA; METAlliance
Jawan Jackson, Motown The Musical - New York, NY, USA
Ethan Popp, Special Guest Music Productions, LLC - New York, NY, USA

Tracing the path taken by pop-R&B classics known the world over to the Broadway stage and the modern-day recording studio—and how cast albums get made with no time and no do-overs.

A panel and Q&A with album producer and mixer Frank Filipetti, a multi-Grammy Award winner, and co-producer Ethan Popp, the show's Tony-nominated musical supervisor.

Moderator: Harry Weinger, VP of A&R at UMe, two-time Grammy winner and album Executive Producer.


Friday, October 18, 1:00 pm — 1:45 pm (Room 1E14)


A Tribute to Ray Dolby

Ioan Allen, Dolby Laboratories Inc. - San Francisco, CA, USA

Ray Dolby died last month at the age of 80. In this special presentation, Ioan Allen will not only cover a few of the highlights of Ray's distinguished career but will also spend more time reminiscing on what it was like to work for over four decades with this iconic figure.


Friday, October 18, 1:15 pm — 2:15 pm (Room 1E11)

Lunchtime Keynote: On the Transmigration of Souls

Michael Bishop, Five/Four Productions, Ltd.

"On the Transmigration of Souls," is a multi-Grammy winning work for orchestra, chorus, children’s choir, and pre-recorded tape is a composition by composer John Adams. It was commissioned by the New York Philharmonic and Lincoln Center’s Great Performers and Mr. Adams received the 2003 Pulitzer Prize in music for the piece. Its premiere recording received the 2005 Grammy Award for Best Classical Album, Best Orchestral Performance, and Best Classical Contemporary Composition and the 2009 Grammy Award for Best Surround Sound Album. Surround Recording Engineer, Michael Bishop, will discuss the surround production process and play the work in its entirety.


Friday, October 18, 2:30 pm — 5:30 pm (Room 1E08)

DTV Audio Group Forum: Audio Production and Distribution in an Evolving Television Delivery Landscape

Robert Bleidt, Fraunhofer USA Digital Media Technologies - San Jose, CA, USA
Mark Brunner, Shure, Incorporated
Tim Carroll, Linear Acoustic Inc. - Lancaster, PA, USA
Roger Charlesworth, DTV Audio Group
Joe Ciaudelli, Sennheiser Electronic Corporation - Old Lyme, CT, USA
Kevin Cleary, ESPN - Belle Isle, FL, USA
Henry Cohen, CP Communications
Bob Dixon, Audio Production and Technology Consultant
Hardys Eggum, HBO
Michael Englehaupt, KQED
Frank Filipetti, the living room - West Nyack, NY, USA; METAlliance
Stacey Foster, Saturday Night Live
Richard M. Friedel, Fox Networks Engineering & Op - Los Angeles, CA, USA
Ken Hahn, Sync Sound Inc. / Digital Cinema, LLC - New York, NY, USA
Jean-Marc Jot, DTS, Inc. - Los Gatos, CA, USA
Peter Larsson, Broadcast Sports Incorporated
Lawrence Manchester, Late Night with Jimmy Fallon - New York, NY, USA
Adam Nicely, Saturday Night Live, Late Night with Jimmy Fallon - New York, NY, USA
Sean Richardson, Starz Entertainment - Englewood, CO, USA
Thomas Sahara, Turner Sports - Atlanta, GA, USA
Peter Scott, Turner Sports
Steven Silva, FOX Network Operations & Engineering - Los Angeles, CA, USA
Jim Starzynski, NBC Universal - New York, NY, USA
Nicolas Tsingos, Dolby Labs - San Francisco, CA, USA
Jeff Willis, ESPN

The forum is intended to explore the opportunities and challenges presented by advanced encoding schemes and to debate whether ubiquitous mobile and over-the-top content delivery demands a retrenchment to more limited audio or could lead to further audio advances. The discussion will also address the long-term implications of mobile data’s inevitable annexation of available broadcast spectrum and the resulting impact on wireless production, and will once again revisit the challenges of producing multichannel music for television.

“The transition from traditional broadcasting to a largely stream-based model opens up a lot of possibilities but potentially adds to confusion as different entities pursue a range of formats and encoding solutions. The demand for more sophisticated interactive and object-oriented services on next-generation streaming appliances, and the transition to streaming of highly sophisticated cinema formats at the very high end, are directly at odds with the common perception that television audio now needs to be dumbed down for mobile and desktop streaming. This disconnect between competing visions creates a strategic dilemma for content producers who are looking for universal delivery standards and workflow practices across a range of delivery platforms.” ~ Roger Charlesworth, Executive Director, DTV Audio Group

Discussion topics will include:

A Paler Shade of White
The impending disaster of shrinking white spaces

Objects Are Closer than They Appear
Production and distribution workflow implications of object-oriented-audio

How many Channels Is Your Cloud?
Competing visions of television audio for mobile and over-the-top streaming

Television Versus Music: Round Two
Revisiting the joys of multichannel music and the struggle for stereo compatibility


Friday, October 18, 2:30 pm — 4:30 pm (Room 1E15/16)

Platinum Engineers

Justin Colletti, SonicScoop - Brooklyn, NY, USA; Trust Me, I'm a Scientist
Chris Coady
Patrick Dillet
Tom Elmhirst, Tom Elmhirst LLC - New York, NY, USA
Manny Marroquin

Engineers of a particularly creative breed, these multi-faceted audio gurus reflect a singular studio fluency that has inspired and produced some of today’s most sonically expressive, adventurous, and influential recordings. Typically recording, mixing and co-producing entire albums, these craftsman often collaborate with artists whose distinct POVs come across not only in the songwriting and playing, but also in the sound of their records. Though they may program, play and/or produce on their projects, these panelists are engineers first, with the skill set to truly play the studio as an instrument. Participants will discuss the creative recording and mixing techniques they’ve developed, playing samples of their work to illustrate some of the most successful collaborations.


Friday, October 18, 4:00 pm — 5:15 pm (Room 1E03)

Bridging the Gap between Creativity & Technology: Working with Composers on Film and Media Projects

Joe Carroll, Manhattan Producers Alliance - New York, NY, USA
Frank Ferrucci, Manhattan Producers Alliance: VP - New York, NY, USA; Leenalisa Music: Composer/Producer

This seminar gives a behind the scenes look into the technological challenges composers and engineers face when collaborating on film, television, and other visual media projects. The presentation addresses some less obvious but no less important ways that Music Engineers and Film Mixers can work best with composers and how technology can be used to help this collaboration be as seamless as possible.


Friday, October 18, 5:00 pm — 6:30 pm (Room 1E15/16)

Inside Abbey Road 1967—Photos from the Sgt. Pepper Sessions

Allan Kozinn, NY Times - New York, NY, USA
Henry Grossman
Brian Kehew, CurveBender Publishing - Los Angeles, CA, USA

Allan Kozinn, noted Beatles expert and reviewer for the NY Times will moderate this panel, which shows a behind-the-scenes look at EMI/Abbey Road studios during the making of the landmark "Sgt. Pepper's Lonely Hearts Club Band." Famed Beatles photographer Henry Grossman visited the sessions where he took several hundred photos, many of which are still largely unseen. Henry will show photos and share memories of that creative era. Brian Kehew (co-author of the acclaimed Recording the Beatles book) will illustrate key technical aspects found in Grossman's photos. (Henry Grossman is also the author of Kaleidoscope Eyes: A Day in the Life of Sgt. Pepper and Places I Remember: My Time with The Beatles, considered two of the greatest collections of Beatles photography to date.)


Friday, October 18, 8:30 pm — 10:00 pm

Stories for the Ears: Live Audio Drama and Narration

Presented at The Paley Center for Media
Friday, October 18, 2013 – 8:30 PM - 10:00 PM
(Doors open at 8:00 PM – show begins at 8:30 PM)
Limited seating, tickets required.

Fantasy, Fiction, and Fun!

The HEAR Now Festival and SueMedia Productions in conjunction with the Audio Engineering Society (AES) presents an evening of live audio/radio drama along with narrative readings celebrating the art of sonic storytelling.

Hosted by Bob Kaliban (CBS Mystery Theater)

Featuring performances by Audie Award winning and Golden Voice narrators Jim Dale, Katherine Kellgren, Robin Miles, and Barbara Rosenblat, and the award winning NY based audio drama troupe VoiceScapes Audio Theater.

The sponsors of this event are CCS-IPCodecs, SueMedia Productions, Hear Now Festival, and the Audio Engineering Society.


Saturday, October 19, 11:30 am — 1:30 pm (Room 1E15/16)

Platinum Producers

David Weiss, SonicScoop - New York, NY, USA
Jeff Jones, "The Jedi Master", World Alert Music - New York, NY, USA; Jazz at Lincoln Center - New York, NY, USA
Dano "ROBOPOP" Omelio
Dave Tozer, Dave Tozer - New York, NY, USA

The musical continuum, and its role in music production, comes into focus at this year's Platinum Producers Panel. How does an understanding of music's past, present, and future serve the producer in their quest to fully realize the artist's vision? We’ll go deep with this elite panel of Jeff Jones (Eric Clapton, Wynton Marsalis, Norah Jones), ROBOPOP (Gym Class Heroes, Maroon 5, Lana Del Ray), and Dave Tozer (John Legend, Kanye West, Justin Timberlake), and moderated by David Weiss (Founder/Editor of SonicScoop). Their collective experience spans decades and has produced hit singles and albums in rock, R&B, hip-hop, pop, jazz, and beyond. From their application of classic techniques to late-breaking revelations, this trio of hit makers will provide inside information on tracking, mixing, mastering, and getting the very best out of artists in the studio.


Saturday, October 19, 1:30 pm — 2:45 pm (Room 1E13)

Irons in the Fire: Career and Business Development Mentoring with the Manhattan Producers Alliance

Joe Carroll, Manhattan Producers Alliance - New York, NY, USA
John Blair, Manhattan Producers Alliance/ Polar Blair Music - New York, NY, USA
Charles Callahan, C2PE Publishing - Garden City, NY, USA; Manhattan Producers Alliance
Steve Horowitz, The Code International Inc. - San Francisco, CA, USA
John Kiehl, Manhattan Producers Alliance - New York, NY, USA
Andy Schwartz, Manhattan Producers Alliance - New York, NY, USA; Local 802, AFM

Bring your energy, enthusiasm, business ideas and questions. At this event the focus is on YOU!

Succeeding in music today is, more than ever, challenging. Members of the Manhattan Producers Alliance will give a brief talk about developing your brand and your business, and functioning as a creative talent in an ever-changing music business. Take this unique opportunity to meet some ManhatPro members and spend some time learning some tips and tricks for business development. You’ll participate in our open discussions, discuss your personal career goals one on one, and get a chance to meet some ManhatPro members.


Saturday, October 19, 2:30 pm — 4:00 pm (Room 1E15/16)

Grammy SoundTable: What Would Ramone Do?

BJ Ramone
Elliot Scheiner
Jim Boyer
Peter Chaikin, JBL Professional - Northridge, CA, USA
Jill Dell'Abate
Mark Ethier
Frank Filipetti, the living room - West Nyack, NY, USA; METAlliance
Jimmy Jam, Flyte Tyme Productions
Leslie Ann Jones, Skywalker Sound - San Rafael, CA, USA
Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Rob Mathes
Al Schmitt, Los Angeles, CA, USA

What Would Ramone Do?

This educational and inspirational career retrospective will delve into the music, creativity, and vision of legendary 14-time GRAMMY Award winning producer/engineer/technologist Phil Ramone. From Marilyn Monroe's performance/rendition of "Happy Birthday" for JFK, Getz/Gilberto’s “Girl From Ipanema,” Billy Joel’s “Just The Way You Are,” Paul Simon’s “50 Ways to Leave Your Lover,” Frank Sinatra’s Duets album, and live concerts in Italy with Luciano Pavarotti, to overseeing groundbreaking sound evolutions for the GRAMMY Awards Telecast, Phil Ramone’s career spanned more than 50 years of artistic and technical innovation. For this retrospective, we’ll go behind the scenes with colleagues, footage, and friends for an analysis of the wisdom and knowledge behind his achievements. This session is guaranteed to be insightful and thought-provoking.


Saturday, October 19, 4:00 pm — 5:00 pm (Room 1E03)

Music and Audio for the Smaller Screen

Jerome Rossen, Freshmade Music - San Francisco, CA, USA; Manhattan Producers Alliance
Christopher Kaufman, Manhattan Producers Alliance - New York, NY, USA
John Kiehl, Manhattan Producers Alliance - New York, NY, USA
Steve Horowitz, The Code International Inc. - San Francisco, CA, USA
Richard Warp, Manhattan Producers Alliance - New York, NY, USA; Leapfrog Enterprises Inc - Emeryville, CA, USA

What are the important issues to take into account when you’re composing, compiling, and refining your masterpiece for the small screen? What should you prioritize during preproduction? How does the smaller screen affect your creative decision making? How can you mix for success? What do you need to know if you’re creating for iOS, Android and the Web? Join members of the Manhattan Producers Alliance as they conduct this panel addressing how to make the best possible audio for the “smaller screen.”


Saturday, October 19, 4:30 pm — 6:00 pm (Room 1E15/16)

Bruce Swedien: I Have No Secrets

Bruce Swedien, Ocala, FL, USA
Bill Gibson, Hal Leonard Performing Arts Publishing Group - Seattle, WA, USA; Berklee College of Music Online

This Special Event showcases the mindset of one of music’s most-important engineers—ever! Interviewed by author Bill Gibson, Bruce Swedien generously shares the depth of his technical and artistic insights, inspiring greatness in the musical application of technology in recording and production. In an industry propelled by the excessive use of plug-ins, automatic tuning, and processing, Swedien reveals a different approach—his approach, which achieves massive sonic power through the mastery of musical and technical fundamentals and the insightful understanding of the role of microphones, the acoustical environment, effects processors, and the all-important emotional component in the recording process.

Bring your questions. Don’t miss a chance to learn from an audio industry master—a legend, an icon, and a friend to engineers around the world. Bruce Swedien has always been generous with his knowledge—he has no secrets! There will be space in the program for you to ask questions.

A five-time Grammy winner—and thirteen-time Grammy nominee—Swedien’s impact on popular music is undeniable! His approach to recording music has proven to be a game changer, with engineers at all levels referencing his work as a definitive sonic standard. From recording and mixing Michael Jackson’s albums (Off the Wall, Thriller, Bad, Dangerous, Invincible, and HIStory) to many of Quincy Jones’ hits (The Dude, Back on the Block, Q’s Jook Joint, and more) to the music of greats such as Count Basie, Duke Ellington, the Brothers Johnson, and Natalie Cole, Bruce Swedien has always operated at the very highest level of excellence and expertise in the recording industry.


Sunday, October 20, 11:00 am — 1:00 pm (Room 1E15/16)

The State of Mastering – 2013

Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Greg Calbi, Sterling Sound - New York, NY, USA
Darcy Proper, Wisseloord Studios - Hilversum, The Netherlands
Douglas Sax, The Mastering Lab - Ojai, CA, USA
Tim Young, Metropolis Mastering - London, UK

Ten years ago top mastering studios generally mastered and created final production masters for only the Compact Disc. Now we commonly create production masters for CDs, Downloads, files for streaming, special "Mastered for iTunes" downloads, and high resolution files for vinyl disk cutting, HDtracks, and Pure Audio Blu-ray masters.

Our Platinum Panelists will talk about the ramifications of State-of-Mastering in 2013 and what the future may hold. We will include some special sound demonstrations.


Sunday, October 20, 12:30 pm — 1:30 pm (Room 1E07)


Lunchtime Keynote: Studio of the Future: 2020–2050

John La Grou, Millennia Music & Media Systems - Sierra Nevada, California, USA; POW-R Consortium

A brief look at the evolution of audio electronics, a theory of innovation, and a sweeping vision for the next forty years of audio production technology. Informed by the growth theories of Moore, Cray, and Kurzweil, we project the next forty years of professional audio products, production techniques, and delivery formats.


Sunday, October 20, 1:30 pm — 3:00 pm (Room 1E15/16)


Era of the Engineer (Young Guru)

Young Guru, Roc Nation - Brooklyn, NY

Revered as “The Sound of New York,” Young Guru possesses over a decade of experience in sound engineering and production for the acclaimed Roc-A-Fella Records and Def Jam Recordings. Through his lecture and demo series, #eraoftheengineer, Guru examines the recent emergence of a new generation of do-it-yourself engineers, analyzing and demonstrating what it means for the culture at large.


Return to Special Events

EXHIBITION HOURS October 18th 10am ��� 6pm October 19th 10am ��� 6pm October 20th 10am ��� 4pm
REGISTRATION DESK October 16th 3pm ��� 7pm October 17th 8am ��� 6pm October 18th 8am ��� 6pm October 19th 8am ��� 6pm October 20th 8am ��� 4pm
TECHNICAL PROGRAM October 17th 9am ��� 7pm October 18th 9am ��� 7pm October 19th 9am ��� 7pm October 20th 9am ��� 6pm
AES - Audio Engineering Society