Thursday, September 29, 9:00 am — 10:30 am (Rm 501ABC)
Abstract:
Sound archives and reissue record labels have overlapping interests in preservation of archival audio recordings. This panel brings together archivists, engineers, and record producers to explore how archives and labels can collaborate on preservation, presentation, and monetization of archival sound recordings. Topics to be discussed include how that collaboration can be leveraged to refine and promote best practices in digitization, metadata encoding, restoration ,and preparation for high resolution commercial release. Moderated by restoration and mastering engineer Jessica Thompson, this panel will also look at how libraries, archives, and record labels can form fruitful private/public relationships and the role record labels can play in initiating and potentially funding preservation of archival collections.
Thursday, September 29, 9:30 am — 10:30 am (Rm 502AB)
Abstract:
Industry media mainstay Mr. Bonzai and his special guests, Jack & Blake Douglas kick-off the AES Special Events calendar with a first-morning wake-up dialog, talking music, motivation, and music industry trends and prognostications. Legendary producer/engineer Jack Douglas got his start at Record Plant in NYC as a janitor, and within a few short years was working with John Lennon, Cheap Trick, and Aerosmith. His son Blake is a successful engineer (Nas, Common, No ID), production consultant, and studio designer.
AES Members can watch a video of this session for free.
Thursday, September 29, 2:30 pm — 4:00 pm (Rm 502AB)
Abstract:
The Audio Engineering Society brings together the top-notch music producers and engineers from the Latin scene. Multiple Grammy-winning pros will present an in-depth look at their latest recordings and will open the debate for Q&A from the audience.
AES Members can watch a video of this session for free.
Thursday, September 29, 4:00 pm — 5:30 pm (Rm 404AB)
Abstract:
The world’s top producers, engineers and artists discuss the latest work flow and production tips that most effectively move projects from pre-production to tracking and editing to mixing and mastering. Panel will explore the recording process from all angles of traditional acoustic production, beat-making, and topline production.
Thursday, September 29, 4:15 pm — 5:45 pm (Rm 502AB)
Abstract:
Implementing and mixing music and sound for VR games raises many technical and artistic questions. Realism is not always the end-goal as the sonic aesthetics must match the game play in order for the experience to feel cohesive. There is no one correct way to go about this just as there are various tools that can achieve the same or similar results. This panel will explore both the variable aesthetics at play as well as discuss some of the latest platform, middleware and plug in developments being used to achieve them. Topics of discussion will range from implementation of ambisonic and binaural spatialized audio to non-spatialized audio placement, appropriate soundscapes and ambiences, room and environmental effects, suitable volume levels for long term listening, diegetic use of music, and effects such as occlusion through filtering, equalization, and distortion.
Friday, September 30, 9:00 am — 10:30 am (Rm 501ABC)
Abstract:
Mastering engineers elaborate on the specific requirements for preparing a music project for release on vinyl, with tips for making a great sounding disc.
Friday, September 30, 10:45 am — 12:15 pm (Rm 502AB)
Abstract:
Life In the Hotseat—Audio Production for Live Global Telecast Events
GRAMMY, EMMY, OSCAR, Super Bowl, NFL, NBA, MLB, NASCAR, live broadcasts that capture a global audience with myriad moving parts and zero margin for error. Going live with tens of millions of viewers hanging on every note and play, there are no second chances to get it right. Join members of the most experienced broadcast audio teams in the business as they pull back the curtain on the most technically advanced and logistically challenging audio productions on the planet.
Friday, September 30, 10:45 am — 12:15 pm (Rm 501ABC)
Abstract:
Multi Grammy winning Producer / Engineer Darrell F. Thorp will peal back the green curtain, and tell us how he approaches working with multi platinum artists Beck, Radiohead, and McCartney. He will have 'raw tracks' from the influential Beck record "Morning Phase" which won the trifecta of Album of the Year, Best Rock Record, AND Best Engineered [Non Classical] in 2015. Darrell will show how he crafts these amazing records, and what it’s like to be in the studio with legends Nigel Goodrich, Mac, Beck, and the new legends of Nashville. Producer / Engineer Jonathan Pines, Director of Strategic Operations for Rupert Neve Designs, is very excited to guide this lively discussion with top professionals for the third year in a row!
Friday, September 30, 1:30 pm — 3:15 pm (Rm 409B)
Chair:
Amandine Pras, Paris Conservatoire (CNSMDP) - Paris, France; Stetson University - DeLand, FL, USA
EB2-1 A Broadcast Film Leader with Audio Channel, Frequency, and Synchronism Test Properties—Luiz Fernando Kruszielski, Globo TV Network - Rio de Janeiro, Brazil; Rodrigo Meirelles, Globo TV Network - Rio de Janeiro, Brazil
Universal film leaders, commonly known as “countdowns,” have been an important tool to synch audio and video. In a broadcast production, the material goes through several stages where audio and video are edited and processed, and time is a very precious resource. Also, it is important to minimize possible errors in the production chain. We propose a film leader format that, in a single 10 second clip, would be possible to do a preliminary check on aspects such as surround and stereo channel identification, relative channel level and frequency response, as well as synchronism. The proposed film leader has been tested and integrated in a Brazilian Television Network with very good results.
Engineering Brief 286 (Download now)
EB2-2 Live vs. Edited Studio Recordings: What Do We Prefer?—Amandine Pras, Paris Conservatoire (CNSMDP) - Paris, France; Stetson University - DeLand, FL, USA
This pilot study examines a common belief in written classical music that a live recording conveys a more expressive musical performance than a technically flawless studio production. Two tonmeister students of the Paris Conservatoire recorded a six-dance baroque suite and a four-movement romantic sonata in concert and in studio sessions with the same microphone techniques and in the same venue for both conditions. Twenty listeners completed an online survey to rate three versions of the dances and movements, i.e., the concert performance, the firstt studio take, and the edited version. Results show that listeners preferred the edited versions (44%) more often than the firstt studio takes (29%) and the concert performances (27%).
Engineering Brief 287 (Download now)
EB2-3 Rondo360: Dysonics’ Spatial Audio Post-Production Toolkit for 360 Media—Robert Dalton, Dysonics - San Francisco, CA, USA; Jimmy Tobin, Dysonics - San Francisco, CA, USA; CCRMA - Stanford, CA, USA; David Grunzweig, Dysonics - San Francisco, CA, USA
Rondo360 is Dysonics’ toolkit for spatial audio post-production, supporting multiple workflows including multichannel, Ambisonics, and Dysonics’ own native 360 Motion-Tracked Binaural (MTB) format. Rondo360 works with all input formats—live or prerecorded—from traditional or sound field microphones, and exports to a wide array of formats depending on desired content distribution. Rondo360 integrates seamlessly with all DAWs by adding a final layer onto the creator’s existing workflow, and it comes bundled with a suite of custom mastering tools (Mixer, Compressor, Limiter, and Reverb) that work on multichannel sound field content. With support for RondoMotion, Dysonics' wireless head-tracking device, creators can monitor their 360 mixes in real-time. Rondo360 also provides an intuitive audio/video sync and export functionality along with live broadcasting support.
Engineering Brief 288 (Download now)
EB2-4 Withdrawn—N/A
EB2-5 Mixing Hip-Hop with Distortion—Paul "Willie Green" Womack, Willie Green Music - Brooklyn, NY, USA
The grit and grime of Hip-Hop doesn't have to be metaphorical. With the vast array of saturation tools available, distortion is no longer just something to remove from recordings; and the huge and aggressive sounds in Hip-Hop music can benefit specifically. From subtly warming drums and keyboards to mangling vocals and samples, this brief will demonstrate techniques for creatively distorting urban music. Exploring tape emulation, parallel vocal distortion, drum crushing, and more, I will investigate how a bit of dirt can drastically affect a mix.
Engineering Brief 290 (Download now)
EB2-6 Smart Audio Is the Way Forward for Live Broadcast Production—Peter Poers, Junger Audio GmbH - Berlin, Germany
Today’s broadcast facilities are facing ever-increasing demands on their resources as they strive to keep up with consumers who expect more content on more devices both where and when they want it. To attract and retain viewers, consistent, stable, and coherent audio is a vital requirement. One aspect that is particularly important to pay attention to is speech intelligibility. This is most critical and difficult in a live broadcast situation. The Smart Audio concept is to utilizing real time processing algorithms that are both intelligent and adaptive. Devices need to be fully interoperable with others in the broadcast environment and need to seamlessly integrate with both playout automation systems and logging and monitoring processes. The Engineering Brief will present some dedicated and proofed algorithms and practical use cases for Smart Audio
Engineering Brief 291 (Download now)
EB2-7 Towards Improving Overview and Metering through Visualization and Dynamic Query Filters for User Interfaces Implementing the Stage Metaphor for Music Mixing—Steven Gelineck, Aalborg University Copenhagen - Copenhagen, Denmark; Anders Kirk Uhrenholt, Copenhagen University - Copenhagen, Denmark
This paper deals with challenges involved with implementing the stage metaphor control scheme for mixing music. Recent studies suggest that the stage metaphor outperforms the traditional channel-strip metaphor in several different ways. However, the implementation of the stage metaphor poses issues including clutter, lack of overview and monitoring of levels, and EQ. Drawing upon suggestions in recent studies, the paper describes the implementation of a stage metaphor prototype incorporating several features for dealing with these issues, including level and EQ monitoring using brightness, shape, and size. Moreover we explore the potential of using Dynamic Query filtering for localizing channels with certain properties of interest. Finally, an explorative user evaluation compares different variations of the prototype, leading to a discussion of the importance of each feature.
Engineering Brief 292 (Download now)
Friday, September 30, 1:30 pm — 3:00 pm (Rm 502AB)
Abstract:
A round table focusing specifically on recording chains used and why, compression techniques, de-essing, vocal editing, punch in or comps, headphone mix tricks, etc.
Friday, September 30, 3:30 pm — 5:00 pm (Rm 502AB)
Abstract:
Some of the most important and influential recordings of all time were created in British studios during the 1960s and 1970s—iconic places like Abbey Road, Olympic, Trident, Decca, Pye, IBC, Advision, AIR, and Apple. This presentation will unravel the origins of the so-called "British Sound" and celebrate the people, equipment, and innovative recording techniques that came out of those hallowed halls, including rare photographs, videos, and musical examples.
Saturday, October 1, 10:45 am — 12:15 pm (Rm 502AB)
Abstract:
A platinum panel of renowned engineers will discuss the key elements of the creative & technical process that they apply as they work with a wide range of artists in all popular music genres. We will be playing examples and taking questions from the audience.
Saturday, October 1, 1:30 pm — 3:00 pm (Rm 502AB)
Abstract:
A platinum panel of renowned mastering engineers will discuss the creative & technical process behind selected recent work. We will focus on those details that are important to various consumer release formats. We will be playing examples and taking questions from the audience.
Saturday, October 1, 3:15 pm — 4:45 pm (Rm 501ABC)
Abstract:
Legendary engineer/producer/inventor/designer/programmer/professor George Massenburg will discuss the recording of iconic Earth Wind and Fire songs in detail, in this special 90-minute interview. Educator/engineer/producer Mark Rubel and engineer/producer/programmer Kenny Moran will engage Professor Massenburg in a wide-ranging discussion, including the stories of recording such songs as “September” and “Fantasy,” an analysis of the multi-track recordings, soloing individual elements, related anecdotes, and more. This event will not be recorded, so you must be present to learn!
Sunday, October 2, 9:00 am — 10:30 am (Rm 403A)
Abstract:
Audio engineering legend Bob Ohllson will discuss in detail the recording of the iconic Marvin Gaye song “What’s Goin’ On?” in a special 90-minute interview. The wide-ranging conversation will include the stories of recording this and other classic Motown recordings, an analysis of the multi-tracks, soloing individual elements, related anecdotes, and more.
This event will not be recorded, so you must be present to learn! Raw Tracks featuring “What's Goin' On” & Engineer/Producer Bob Ohllson
Sunday, October 2, 10:00 am — 11:00 am (Rm 405)
Abstract:
Technical Committee Meeting on Recording Technology and Practices