Saturday, May 20, 10:15 — 11:00 (PSE Stage)
Saturday, May 20, 11:15 — 12:00 (PSE Stage)
John Willett (Presenter)
Microphones are the very first link in the recording chain, so it’s important to understand them to use them effectively. This presentation will explain the differences between different types of microphones; explain polar-patterns and directivity, proximity effect relative recording distances and a little about room acoustics. Many of these “golden nuggets” helped me greatly when I first understood them and I hope they will help you too.
Saturday, May 20, 12:15 — 13:00 (PSE Stage)
Dave Tyler (Presenter)
Dave Tyler looks at how cloud enabled workflows are already benefiting Pro Tools users and the possible future applications of cloud technology in digital media applications.
Saturday, May 20, 14:30 — 15:15 (PSE Stage)
Thomas Lund (Presenter)
Once you have overcome the circles of confusion in pro monitoring, you can create content that translates well between rooms and between in-room and headphones.
Topics covered: In-room spectral calibration, level calibration, monitor dispersion, loudness-based production and monitoring, prevention of listener fatigue.
Saturday, May 20, 15:30 — 16:15 (PSE Stage)
Sammy Rothmann (Presenter)
What are ribbon microphones and how do you use them? Sammy Rothman answers these questions and more in “AEA Ribbon Mics: Fix It In the Mic” which delves into all things ribbons including best miking practices, how ribbons mics work, the differences between ribbons and condensers, and an exploration of AEA’s diverse line of active and passive ribbon microphones.
Saturday, May 20, 16:30 — 17:15 (PSE Stage)
Graphical Audio DSP Programming Environments and newer “audio specific” DSP programming SW and HW architectures.
How has SigmaStudio revolutionized how audio equipment is designed in today’s competitive environment.
What has been ADI (and others) response has been to new evolving customer needs from a software and hardware perspective.
How have new algorithms emerged with the existence of different sensors and converters.
How have algorithms evolved with the need for system-performance improvements requirements.
What are the latency considerations within different audio applications: “headphones,” “stage,” “studio” among other listening environments.
Sunday, May 21, 10:15 — 11:00 (PSE Stage)
Dave Tyler (Presenter)
Dave Tyler talks about the latest Pro Tools release, which integrates Dolby Atmos immersive mixing into Pro Tools and takes a look at how immersive audio is shaping the future of the industry.
Sunday, May 21, 11:15 — 12:00 (PSE Stage)
Aki Mäkivirta (Presenter)
The benefits of using Genelec Smart Active Monitors
Built for today’s fast-paced studio environment, Genelec Smart Active Monitors (SAM) are designed to meet your workflow and help you improve your sound reproduction quality. As space becomes more limited, listening areas are more confined and room acoustic problems more prevalent.
SAM Systems draw on Genelec’s decades of experience and expertise to create an intelligent, flexible network of monitors and subwoofers that can adapt to your requirements. Use Genelec Loudspeaker Manager (GLM) 2.0 software to create monitoring systems ranging from traditional stereo to immersive audio setups relying on the proprietary power of GLM AutoCal to create an optimal monitoring environment.
Sunday, May 21, 12:15 — 13:00 (PSE Stage)
Sammy Rothmann (Presenter)
What are ribbon microphones and how do you use them? Sammy Rothman answers these questions and more in “AEA Ribbon Mics: Fix It In the Mic” which delves into all things ribbons including best miking practices, how ribbons mics work, the differences between ribbons and condensers, and an exploration of AEA’s diverse line of active and passive ribbon microphones.
Sunday, May 21, 14:00 — 14:45 (PSE Stage)
David Miles Huber (Presenter)
There is practically nothing about the making of a DMH project that follows the normal recording process. For starters, it is created from multiple electronic and acoustic sound sources. Add to this the idea that each project is produced in multiple formats:
- berlin dance (in both stereo and 5.1 surround)
- original mix (in both stereo and 5.1 surround)
- chill/relaxation mix (in both stereo and 5.1 surround)
- Bluray disc version (9.1 Auro3D)
Each mix version is carefully mixed and mastered at 96kHz/24bits. The berlin mix involves a special process that allows the original mix to be imported into Ableton Live, thereby allowing DMH to perform the project live on-stage in multiple output formats … these add up to a Grammy-nominated process that’s totally unique.
Sunday, May 21, 15:00 — 15:45 (PSE Stage)
John Willett (Presenter)
Microphones are the very first link in the recording chain, so it’s important to understand them to use them effectively. This presentation will explain the differences between different types of microphones; explain polar-patterns and directivity, proximity effect relative recording distances and a little about room acoustics. Many of these “golden nuggets” helped me greatly when I first understood them and I hope they will help you too.
Sunday, May 21, 16:00 — 16:45 (PSE Stage)
Sunday, May 21, 17:00 — 17:45 (PSE Stage)
Graphical Audio DSP Programming Environments and newer “audio specific” DSP programming SW and HW architectures.
How has SigmaStudio revolutionized how audio equipment is designed in today’s competitive environment.
What has been ADI (and others) response has been to new evolving customer needs from a software and hardware perspective.
How have new algorithms emerged with the existence of different sensors and converters.
How have algorithms evolved with the need for system-performance improvements requirements.
What are the latency considerations within different audio applications: “headphones,” “stage,” “studio” among other listening environments.
Monday, May 22, 10:15 — 10:45 (PSE Stage)
Klaus Heinz (Presenter), Frederick Knop (Presenter)
Monday, May 22, 10:45 — 11:15 (PSE Stage)
Monday, May 22, 11:15 — 11:45 (PSE Stage)
Kieran Walsh (Presenter)
Audio Over IP has found many applications in Commercial, Live, and Broadcast sound, where existing infrastructures and deployment methods are of immediate benefit. Audio Over IP is also highly compelling in project studios where the benefits of BYOD (Bring your own device) and the flexibility of a production workflow "independent of cabling" are being increasingly realised by many artists and project studio owners.
Monday, May 22, 12:00 — 12:30 (PSE Stage)
Andreas Hildebrand (Presenter)
AES67 is an AES Standard for Audio over IP interoperability, published in 2013. The presentation will explain, how it works and what it can do in certain application scenarios. It also explains its short-comings and how to get along with them.
Monday, May 22, 12:30 — 13:00 (PSE Stage)
Jeff Barryman (Presenter), Nico Lewis (Presenter)
• When is a standard really an open public standard?
• Positioning of AES67
• How important is control in professional audio applications?
• Positioning of AES70
• What is Bosch´s / RTS´s approach to deliver state of the art technology?
Monday, May 22, 13:00 — 13:30 (PSE Stage)
Monday, May 22, 13:30 — 14:00 (PSE Stage)
Jan Lykke (Presenter)
It is a common misconception that AoIP systems add too much latency for it to be used in latency-critical recording situations. The presentation will explain the latency in an AoIP-based recording chain all the way from microphone to headphone.
Monday, May 22, 14:00 — 14:30 (PSE Stage)
Pascal Dietrich (Presenter), Phil Kamp (Presenter)
Sound engineer Phil Kamp of KLANG:technologies will talk and answer questions about:
- binaural sound, binaural monitoring and its advantages
- live and studio applications
- creative aspects of working with binaural sound
- possible future use-cases in music production
- walk-through of KLANG:fabrik and examples of use-cases with Dante and MADI
Monday, May 22, 14:30 — 15:15 (PSE Stage)
Dankmar Klein (Presenter)
RedNet is Focusrite’s range of interfaces for the Dante network. Coupling the tried and tested Dante network to Focusrite’s enviable audio heritage, RedNet offers a growing number of interfaces and bridges that link analogue and digital I/O—along with additional complex audio topologies like MADI and Pro Tools—to the Dante network. Attendees will have the chance to learn about how RedNet can work for them.