AES New York 2017
Recording & Production Track Event Details
Wednesday, October 18, 11:30 am — 12:30 pm (Rm 1E11)
Recording & Production: RP02 - A Guide to a High-Quality Vinyl Release
Moderator:Chris Mara, Mara Machines - Nashville, TN, USA
Panelists:
Dustin Blocker, Hand Drawn Reocrds - Dallas, TX, USA
Cameron Henry, Welcome To 1979 - Nashville, TN, USA
An incredible knowledge base has been assembled with experts on vinyl mastering, electroplating, and record pressing. They will discuss not only how to get vinyl records pressed, but how to navigate the process with the goals of high fidelity, customer service and reduced turn-around times.
 | This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Wednesday, October 18, 12:15 pm — 1:30 pm (Rm 1E06 - PMC Room)
Recording & Production: RP17 - Radical Interpretations of Iconic Musical Works
Presenters:Morten Lindberg, 2L (Lindberg Lyd AS) - Oslo, Norway
Kjell Tore Innervik, Norwegian Academy of Music
This event explains the interdisciplinary research project at Norges musikkhøgskole with WOACT and 2L. Kjell Tore Innervik performing Morton Feldman’s “The King of Denmark” and Iannis Xenakis’ “Psappha,” exploring the intimate performing space with large format recording techniques, engaging the listener in immersive audio. We recorded the Xenakis twice. Once from the perspective of an intimate listener and then literally “over-head” as the performer himself in first persona. The difference not only in microphone technique but also in state-of-mind from the performer and how he projects his playing is profound to the receiving experience of the music.
Wednesday, October 18, 3:45 pm — 5:15 pm (Rm 1E15/16)
Special Event: RP03 - Recording Studio Design Addresses Immersive Audio Production
Chair:John Storyk, Architect, Studio Designer and Principal, Walters-Storyk Design Group - Highland, NY, USA
Panelists:
Tom Beyer, New York University - New York, NY, USA
Renato Cipriano, Walters Storyk Design Group - Belo Horizonte, Brazil
Paul Geluso, New York University - New York, NY, USA
Daniel Reis, Recording Mixing Engineer - Sao Paulo, Brazil
As with such successful past innovative audio format rollouts as stereo and Surround Sound, the rapid proliferation of Immersive Sound theatrical presentations has motivated an increasing number of global recording studio upgrades. An estimated 90% of today's feature films are produced with Immersive Sound. And, the format is ubiquitous with videogame producers/players. To meet the production/mixing requirements of this swiftly established innovation, a significant number of studio design issues including acoustics, aesthetics, ergonomics, master planning and future proofing must be addressed. This international panel of studio owners, engineers, designers, and acousticians will examine the requirements and realities associated with building or upgrading to meet Immersive Audio production needs.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 19, 9:30 am — 10:30 am (Rm 1E14)
Recording & Production: RP04 - METAlliance - Yesterday, Today and Tomorrow: Where We've Been, Where We Are, and Where We're Going
Moderator:Jim Pace
Presenters:
Chuck Ainlay, METAlliance - Nashville, Tennessee, USA
Ed Cherney, Edward Cherney Company - Venice, CA, USA
Frank Filipetti
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Elliot Scheiner, Producer - USA
Al Schmitt, Los Angeles, CA, USA
Established in 2005 by globally-recognized, award-winning audio engineers and producers Chuck Ainlay, Ed Cherney, Frank Filipetti, George Massenburg, Elliot Scheiner, Al Schmitt, and the late Phil Ramone, the METAlliance is a collaborative community that fosters relationships between producers, engineers, and manufacturers in order to ensure the highest standards of audio production. This group, which was deeply involved in establishing foundational music recording techniques and technical standards, has now turned its attention to providing education and inspiration to music creators while promoting excellence in engineering and production.
Accordingly, in conjunction with Hal Leonard, the METAlliance has begun publishing the collective knowledge amassed by these A-list producers and engineers under the METAlliance Academy brand. The product line includes A/V tutorial courses, print and ebooks, Power Learning Digital Print versions of these books, and in-person workshop events.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 19, 11:15 am — 12:30 pm (Rm 1E12)
Engineering Brief: EB02 - Recording & Production
Chair:
Palmyra Catravas, Union College - Schenectady, NY, USA
EB02-1 Engineered Remote-Sensing Audio Power Amplifier for High-Fidelity Applications—Peter Horowitz, Fourth Dimension Engineering - Columbia, MD, USA
The objective of this work is to minimize the deleterious effects of loudspeaker cable impedance when driving dynamic loudspeakers, accomplished primarily with a mathematical feedback analysis on the prominent role of the cables themselves within the audio baseband feedback loop. Presented are the measured system waveforms, along with computed root loci and transfer functions of a proof-of-principle remote-sensing (4-wire) 80 watt audio power amplifier. A single baseband feedback loop compares the incoming audio information (voltage) to the resultant voltage across the loudspeaker electrical terminals and minimizes the difference. Measured waveforms demonstrate notably superior replication of incoming information at the loudspeaker terminals over the audio band. The system is empirically robust for a wide range of dynamic loudspeaker and cable systems without any need for electronic adjustment. For example, with 35 meter 15/22 gauge cabling, a bandwidth of 72kHz, dynamic range of 110dB, phase linearity of <0.5°, and low impedance drive levels of <0.2O at the loudspeaker terminals are readily achieved simultaneously.
Engineering Brief 364 (Download now)
EB02-2 Building a Globally Distributed Recording Studio—John Fiorello, RecordME - Torrington, CT, USA
The internet has played a significant role in changing consumer behavior in regards to the distribution and consumption of music. Record labels, recording studios, and musicians have felt the financial squeeze as physical media delivery has been depreciated. However, the internet also enables these studios, musicians, and record labels to re-orient their business model to take advantage of new content creation and distribution. By developing a hardware appliance that combines high-resolution audio recording and broadcasting with real-time, two-way video communication across the web, we can expand the geographic area that studios can serve, increase revenue for musicians, and change the value proposition traditional record labels have to offer.
Engineering Brief 365 (Download now)
EB02-3 Simultaneous Audio Capture at Multiple Sample Rates and Formats for Direct Comparison and Evaluation—Jordan Strum, ProStudioMasters - Montreal, QC, Canada; Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada; Oles Protsidym, ProStudioMasters - Montreal, QC, Canada; Ieronim Catanescu, McGill University - Montreal, QC, Canada
In order to evaluate differences among recording formats and resolutions over a variety of classical, jazz, and popular musical material, a unique collection of audio assets was recorded. Live performances were captured using a single pair of microphones, positionally adjusted for each sound source. Preamplifier outputs were routed to 11 identical recording interfaces capturing various PCM and DSD formats simultaneously with 3 analogue tape recorders, the contents of which were then transferred to the above digital formats. These assets will be used to compare differences among recording formats and resolutions using identical performances, and to provide source material for listening tests as well as further research. The design and execution of this project will be discussed.
Engineering Brief 366 (Download now)
EB02-4 Undergraduate Curricular Development at the Electrical Engineering/Music Interface at Union College—Palmyra Catravas, Union College - Schenectady, NY, USA
Curricular development at the interface of electrical engineering and music will be described, with a focus on the pedagogical use of audio and acoustics to reinforce basic fundamentals in electrical engineering. The effort, which has taken place over more than a decade, seeks to reinforce the foundation provided by the traditional, rigorous engineering curriculum at Union College, an undergraduate liberal arts college in upstate NY. A related specialized research laboratory – Phasor Lab – is located in the Peter Irving Wold Science and Engineering Center at Union.
Engineering Brief 367 (Download now)
EB02-5 Recording, Mixing and Mastering of Audio Using a Single Microphone Array and Audio Source Separation Algorithms—Jakub Zamojski, Zylia sp. z.o.o. - Poznan, Poland; Piotr Makaruk, Zylia - Poznan, Poland; Lukasz Januszkiewicz, Zylia Sp. z o.o. - Poznan, Poland; Tomasz Zernicki, Zylia sp. z o.o. - Poznan, Poland
The authors present a new way of recording of music bands using a single microphone array and audio source separation algorithms. In contrast to the traditional recording process, this novel approach allows for capturing all of musical instruments simultaneously using only one recording device, avoiding a multiple sets of spot microphones, cables, and D/A converters. Moreover, using a single microphone array and dedicated algorithms gives the sound engineer a unique set of “audio processing tools” that can be used in the post-production stage. This paper describes step-by-step a recording process of a music band playing ukulele using a 19-capsules spherical microphone array and dedicated software. The process includes the following stages: recording, sound source separation, mixing, and mastering.
Engineering Brief 368 (Download now)
Thursday, October 19, 1:30 pm — 3:00 pm (Rm 1E08)
Recording & Production: RP05 - Raw Tracks: Modern Pop Production
Moderator:Mark Rubel, The Blackbird Academy - Nashville, TN, USA; Pogo Studio - Nashville, TN, USA
Presenter:
Paul "Willie Green" Womack, Willie Green Music - Brooklyn, NY, USA
Paul "Willie Green" Womack is part of the newer generation of engineer/producer/artists who also writes about and teaches the art of musical production. This wide-ranging conversation will include the challenges and possibilities of modern music production, integration of acoustic instrumentation with sampling and synthesis, and in-depth investigation into the multi-track masters of one of his fantastic productions.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 19, 2:00 pm — 6:00 pm (Rm 1E11)
Paper Session: P09 - Recording and Production
Chair:
Stephen Roessner, University of Rochester - Rochester, NY, USA
P09-1 Analysis and Prediction of the Audio Feature Space when Mixing Raw Recordings into Individual Stems—Marco A. Martinez Ramirez, Queen Mary University of London - London, UK; Joshua D. Reiss, Queen Mary University of London - London, UK
Processing individual stems from raw recordings is one of the first steps of multitrack audio mixing. In this work we explore which set of low-level audio features are sufficient to design a prediction model for this transformation. We extract a large set of audio features from bass, guitar, vocal, and keys raw recordings and stems. We show that a procedure based on random forests classifiers can lead us to reduce significantly the number of features and we use the selected audio features to train various multi-output regression models. Thus, we investigate stem processing as a content-based transformation, where the inherent content of raw recordings leads us to predict the change of feature values that occurred within the transformation.
Convention Paper 9848 (Purchase now)
P09-2 The Beat Goes Static: A Tempo Analysis of U.S. Billboard Hot 100 #1 Songs from 1955–2015—Stephen Roessner, University of Rochester - Rochester, NY, USA
The Billboard Hot 100 is a rich source of information for tracking musical trends. Using available data analysis tools, we devised a method to accurately track tempo throughout a song. In this paper we demonstrate through an analysis of all number one songs from the chart that tempo variation within a song has declined over a 60-year period. In the 5-year span from 1955–1959, the average standard deviation of tempo was 5.01 beats per minute, or about 4.8%. Conversely, from 2010–2014, the average standard deviation was less than 1 beat per minute, or only about 0.85% of the average tempo.
Convention Paper 9849 (Purchase now)
P09-3 An Even-Order Harmonics Control Technique for Analog Pedal Effector—Kanako Takemoto, Hiroshima Institute of Technology - Hiroshima, Japan; Shiori Oshimo, Hiroshima Institute of Technology - Hiroshima, Hiroshima-ken, Japan; Toshihiko Hamasaki, Hiroshima Institute of Technology - Hiroshima, Japan
The primary distortion mechanism of the analog guitar pedal effector is saturating nonlinearity of a transfer function, which consists of operational amplifier and diode clippers with filters. The output spectrum of this system shows odd-order harmonics primarily, but it also contains even-order harmonics. We found that the intensity of this even-order harmonic varies depending on the power supply voltage and clarified the mechanism by analysis of the internal circuit topology of the operational amplifier. The analysis was justified compared with the conventional single-ended transistor pedal operation. Based on the analysis we proposed a new concept of even harmonic control technique, which was applied for analog “Distortion” pedals and demonstrated distinguished experimental results with a prototype.
Convention Paper 9850 (Purchase now)
P09-4 Unified Modeling for Series of Miniature Twin Triode Tube—Shiori Oshimo, Hiroshima Institute of Technology - Hiroshima, Hiroshima-ken, Japan; Kanako Takemoto, Hiroshima Institute of Technology - Hiroshima, Japan; Toshihiko Hamasaki, Hiroshima Institute of Technology - Hiroshima, Japan
Unification of high precision SPICE modeling for the series of MT vacuum tube has been succeeful for the first time. The model formula was validated based on the comparison of electrode and space physical dimensions among 12AX7, 12AU7, 12AY7, and 12AT7 associated with various aspects of properties not limited to the general Ip-Vp family curves. As a result, the non-linear behavior of the grid current and the plate current as a function of plus/minus grid voltage were able to be expressed entirely by 17 parameters of the newly proposed SPICE model, in which 4 tube type specific parameters and 4 universal parameters are constant and matching of twin valves of each tube as well as product dispersion are fitted by 9 variable parameters.
Convention Paper 9851 (Purchase now)
P09-5 Virtual Analog Modeling of a UREI 1176LN Dynamic Range Control System—Etienne Gerat, Helmut Schmidt University Hamburg - Hamburg, Germany; Felix Eichas, Helmut Schmidt University - Hamburg - Hamburg, Germany; Udo Zölzer, Helmut-Schmidt-University Hamburg - Hamburg, Germany
This paper discusses an application of block-oriented modeling to a popular analog dynamic range compressor using iterative minimization. The reference device studied here is the UREI 1176LN, which has been widely used in music production and recording. A clone of the circuit built in a previous project has been used as a reference device to compare the results of the implementation. A parametric block-oriented model has been designed, improved, and tuned using the Levenberg-Marquardt iterative error minimization algorithm. Only input/output measurements have been performed following a gray-box modeling approach. Finally the model has been evaluated with objective scores and a listening test. This work led to very convincing modeling results.
Convention Paper 9852 (Purchase now)
P09-6 Amplitude Panning and the Interior Pan—Mark R. Thomas, Dolby Laboratories - San Francisco, CA, USA; Charles Q. Robinson, Dolby Laboratories - San Francisco, CA, USA
The perception of source location using multi-loudspeaker amplitude panning is considered. While there exist many perceptual models for pairwise panning, relatively few studies consider the general multi-loudspeaker case. This paper evaluates panning scenarios in which a source is panned on the boundary or within the volume bounded by discrete loudspeakers, referred to as boundary and interior pans respectively. Listening results reveal the following: (1) pans to a single loudspeaker yield lowest localization error, (2) pairwise pans tend to be consistently localized closer to the listener than single loudspeaker pans, (3) largest errors occur when the virtual source is panned close to the listener, (4) interior pans are accurately perceived and, surprisingly, in some cases more accurately than pairwise pans.
Convention Paper 9853 (Purchase now)
P09-7 Recording in a Virtual Acoustic Environment—Jonathan S. Abel, Stanford University - Stanford, CA, USA; Elliot K. Canfield-Dafilou, Center for Computer Research in Music and Acosutics (CCRMA), Stanford University - Stanford, CA, USA
A method is presented for high-quality recording of voice and acoustic instruments in loudspeaker-generated virtual acoustics. Auralization systems typically employ close-mic'ing to avoid feedback, while classical recording methods prefer high-quality room microphones to capture the instruments integrated with the space. Popular music production records dry tracks, and applies reverberation after primary edits are complete. Here a hybrid approach is taken, using close mics to produce real-time, loudspeaker-projected virtual acoustics, and room microphones to capture a balanced, natural sound. The known loudspeaker signals are then used to cancel the virtual acoustics from the room microphone tracks, providing a set of relatively dry tracks for use in editing and post-production. Example recordings of Byzantine chant in a virtual Hagia Sophia are described.
Convention Paper 9854 (Purchase now)
P09-8 A Study of Listener Bass and Loudness Preferences over Loudspeakers and Headphones—Elisabeth McMullin, Samsung Research America - Valencia, CA USA
In order to study listener bass and loudness preferences over loudspeakers and headphones a series experiments using a method of adjustment were run. Listeners adjusted the bass and loudness levels of multiple genres of music to their personal preference in separate listening sessions over loudspeakers in a listening room and headphones equalized to simulate loudspeakers in a listening room. The results indicated that listeners who preferred more bass over both headphones and loudspeakers also tended to listen at higher levels. Furthermore the majority of listeners preferred slightly higher bass and loudness levels over loudspeakers than over headphones. Listener factors including musical preferences, hearing ability, and training level are also explored.
Convention Paper 9855 (Purchase now)
Thursday, October 19, 3:00 pm — 4:15 pm (Rm 1E14)
Recording & Production: RP06 - The Recording Academy P&E Wing Presents: High Resolution Record Production and Why it Matters
Moderator:Michael Romanowski, Coast Mastering - Berkely, CA, USA; The Tape Project
Panelists:
Chuck Ainlay, METAlliance - Nashville, Tennessee, USA
Marc Finer, Managing Director, Communication Research Inc. - Los Angeles, CA, USA
Leslie Ann Jones, Recording Engineer and Producer, Director of Music Recording and Scoring, Skywalker Sound - San Rafael, CA, USA
Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Many GRAMMY nominated and winning members of the Recording Academy Producers & Engineers Wing work in Hi-Res audio—lossless audio that’s better than CD quality in both sample rate and bit depth. They’re so serious about this topic they spent more than two years doing research and collaborating on a great set of guidelines titled Recommendations for Hi-Res Music Production, Available on the P&E website. Working at high resolution has many current and long term benefits, both artistically and commercially. They want the rest of the industry to join them. Passionate? You bet. Come here what they have to say about why they choose to work in Hi-Res.
AES Members can watch a video of this session for free.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 19, 4:45 pm — 6:00 pm (Rm 1E06 - PMC Room)
Recording & Production: RP01 - Modern Classical Music Production
Moderator:Terri Winston, Women's Audio Mission - San Francisco, CA, USA
Panelists:
David Bowles, Swineshead Productions LLC - Berkeley, CA, USA
Martha de Francisco, McGill University - Montreal, QC, Canada; CIRMMT Centre for Interdisciplinary Research in Music Media and Technology - Montreal, QC, Canada
Susan DelGiorno
John Newton, Soundmirror, Inc. - Jamaica Plain, MA, USA
Award-winning producers and engineers discuss the tools and evolving processes used in classical music production from recording chains to workflow to edit and mix.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 19, 5:00 pm — 6:00 pm (Rm 1E10)
Recording & Production: RP08 - Microphones - Can You Hear the Specs?
Moderator:Helmut Wittek, SCHOEPS GmbH - Karlsruhe, Germany
Panelists:
Jürgen Breitlow, Georg Neumann Berlin - Berlin, Germany; Sennheiser Electronic - Wedemark, Germany
Eddy B. Brixen, EBB-consult - Smørum, Denmark; DPA Microphones
David Josephson, Josephson Engineering, Inc. - Santa Cruz, CA, USA
There are numerous microphones available to the audio engineer. It's not easy to compare them on a reliable basis, often the choice of the model is made on the basis of experience or perhaps just habits—or just because it looks nice. Nevertheless, there is valuable information in the microphone specifications. This masterclass held by well-known microphone experts of leading microphone manufacturers demystifies the most important microphone specs and provides the attendees with up-to-date information on how these specs are obtained and can be interpreted. Furthermore, many practical audio demonstrations are given in order to help everyone to understood how the numbers relate to the perceived sound. The masterclass takes a critical look on how specs are presented to the user, what to look and listen for, and what to expect.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices and AES Technical Committee on Microphones and Applications |
Friday, October 20, 9:00 am — 10:30 am (Rm 1E07 (5.1))
Recording & Production: RP09 - Raw Tracks: Stayin' Alive: Recording the Bee Gees "Saturday Night Fever"
Moderator:John Merchant, Middle Tennessee State University - Murfreesboro, TN, USA
Panelists:
Albhy Galuten, Producer (UMG, Sony; Bee Gees, Andy Gibb, Barbra Streisand, Eric Clapton, Diana Ross, Eagles, Cher, Jellyfish)
Karl Richardson, Engineer/producer Karl Richardson (Bee Gees, Andy Gibb, Barbra Streisand, Eric Clapton, Diana Ross, Kenny Rogers, Aretha Franklin)
This panel features the engineers and producers of the classic soundtrack for Saturday Night Fever. The multitrack recordings of the songs will be available to illustrate points of discussion and the production techniques involved. The event is a guided discussion of the history of the recording, mixing and mastering, the critical and cultural response to the album, and includes a period for open questions and answers.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Friday, October 20, 10:45 am — 12:15 pm (Rm 1E14)
Recording & Production: RP10 - Come Together: Concepts in Audio Normalization
Moderator:Thomas Lund, Genelec Oy - Iisalmi, Finland
Panelists:
Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Bob Katz, Digital Domain Mastering - Orlando, FL, USA
Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Gilbert Soulodre, Camden Labs - Ottawa, ON, Canada
In order not to annoy listeners with audio levels jumping, an increasing number of delivery platforms now apply energy-based gain normalization of content by default. Loudness in broadcast is a well known example, the concept has become prevalent in music streaming, and soon personal players will be required to reduce the gain automatically to reduce the risk of causing hearing damage. This workshop includes an update from Europe and WHO concerning the latter, on Loudness in general, and on the two special case normalization strategies proposed for film (speech) and for music (album). The different concepts are discussed, and so is the potential influence these changes will have on our industry at large.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Friday, October 20, 11:30 am — 12:30 pm (Rm 1E13)
Recording & Production: RP16 - Al Schmitt & Kat Edmonson: The Engineer/Artist Strategy
Moderator:Mr Bonzai, Communication Arcs - Hollywood, CA, USA
Presenters:
Kat Edmonson
Al Schmitt, Los Angeles, CA, USA
Grammy Award-winning recording engineer Al Schmitt and top jazz singer/songwriter Kat Edmonson will join moderator Mr. Bonzai for an exploration of the intense relationship between engineer and recording artist. Schmitt has won over twenty Grammy Awards for his work with Henry Mancini, Steely Dan, George Benson, Toto, Natalie Cole, Quincy Jones, and others. The genre-defying Kat Edmonson recently performed in Woody Allen’s 2016 film set in the 1930s, “Café Society.” Her most recent record debuted at #1 on the Billboard Heatseekers Albums Chart, #1 on Contemporary Jazz Chart and #2 on the Total Jazz Chart. Edmonson will explain her songwriting process and how she works up material before joining Schmitt in the studio. Together they will explore the connection between the art and science of capturing a performance at its peak, and offer personal anecdotes about the chemistry in the studio, including mic choices and vocal techniques, live room acoustics and overdubs, all leading up to the grand finale of the mix.
AES Members can watch a video of this session for free.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Friday, October 20, 4:15 pm — 5:45 pm (Rm 1E12)
Recording & Production: RP12 - Music Mixing, Part 4
Chair:Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Panelists:
Jim Anderson, Anderson Audio NY - New York, NY, USA; Clive Davis Institute of Recorded Music, New York University - New York, NY, USA
Michelle Desachy, Estudio19 - Mexico City, Mexico
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Ronald Prent, Wisseloord Studios - Eemnes, Netherlands
A continuation of the successful "Mixing Music" workshops at AES 139 (New York), AES 140 (Paris), and AES 142 (Berlin). A panel of award-winning expert practitioners from varying backgrounds and genres within the industry will spark interesting discussion and debate. Topics will include the process of mixing, techniques used, and proven methodologies that have yielded successful results over the years in a constantly changing industry. Focus will include the different ways to approach a mix, how to improve an existing mix, how to best interpret and address comments from clients. Balancing, use of processing, and listening levels will be addressed. Ample time will be reserved for questions, so that the audience will have a chance to solicit specific responses from the panel members.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Saturday, October 21, 10:45 am — 12:15 pm (Rm 1E07 (5.1))
Recording & Production: RP11 - 192dB DR, 32bit/DXD Ultra High Resolution Capture, Processing and Mastering Workflow for MQA, DSD and Future High Resolution Archiving and Delivery
Presenter:Michal Jurewicz, Mytek - New York, NY, USA
This presentation will include a complete back to back working example utilizing Mytek Brooklyn ADC and DAC mastering converters for the modern 21st century mastering approach: 32bit fixed/192dB/352.8k DXD capture and playback and 64bit double precision DAW signal processing. World highest dynamic range with flat noise floor to 200kHz and precision processing allow for new opportunities to create masters for all new high resolution formats including MQA and DSD256 as well as incorporation of new restoration techniques such as Plangent tape process unachievable with regular 24/192k conversion. George Massenburg, Bob Ludwig, Alan Silverman and few other mastering engineers are currently testing system suitability for MQA(R) mastering.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Saturday, October 21, 10:45 am — 12:15 pm (Rm 1E09)
Recording & Production: RP13 - Mastering 201:Beyond the Basics
Moderator:Alan Silverman, Arf! Mastering - New York, NY, USA; The Clive Davis Institute of Recorded Music at The Tisch School of the Arts, andNYU|Steinhardt Dept.of Music Technology - New York, NY, USA
Panelists:
Adam Ayan, Gateway Mastering Studios - Portland, ME USA
Heba Kadry, Timeless Mastering - Brooklyn, NY, USA
Darcy Proper, Darcy Proper Mastering - Eemnes, The Netherlands; Wisseloord Studios - Hilversum, The Netherlands
Sarah Register, Sarah Register Mastering - Brooklyn, NY, USA
In perfect world mastering would amount to a flat transfer. As recorded music shifts to production done in project studios and personal spaces, mixes are often sent off to mastering with any number of difficult issues that were not apparent until heard on full-range, high-resolution monitors. A revised mix is the ideal solution, but revisions are not always possible. This tutorial looks at recurring mix issues and explores mastering approaches made possible by recent advancements in digital audio processing tools. The panel will also explore creative possibilities made available to us via the new tool sets. An issue faced by independent mastering engineers working solo is the limited opportunity for exchanging new ideas and technical solutions. This tutorial is an ideal forum for attendees to discover fresh approaches through demonstrations by a panel of seasoned professional mastering engineers.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Saturday, October 21, 1:30 pm — 3:00 pm (Rm 1E07 (5.1))
Recording & Production: RP14 - Evolution of Album Production from Start to Finish
Moderator:Terri Winston, Women's Audio Mission - San Francisco, CA, USA
Panelists:
Ann Mincieli, Jungle City Studios - New York, NY, USA
Kim Rosen, Mastering Engineer (Bonnie Raitt, Aimee Mann, Bettye LaVette, Joe Henry) - Ringwood, NJ, USA
Angie Teo, Engineer (Madonna, Bono & The Edge, Elliot Goldenthal) - New York, NY, USA
Ryan West, (Kid Cudi, Jay-Z)
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, topline writing and mastering.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Saturday, October 21, 3:15 pm — 4:45 pm (Rm 1E09)
Recording & Production: RP15 - Raw Tracks: the Sound of Philadelphia (TSOP)
Moderator:Mark Rubel, The Blackbird Academy - Nashville, TN, USA; Pogo Studio - Nashville, TN, USA
Panelists:
Dirk Devlin, (former engineer) Sigma Sound Studio - Philadelphia, PA, USA
Toby Seay, Drexel University - Philadelphia, PA, USA
Arthur Stoppe, Engineer
Joe Tarsia, Engineer and Owner of Sigma Sound
Philadelphia has been an incubator for all kinds of great music, and in the ‘70s and ‘80s funk, soul, pop and Latin styles combined to create some phenomenally great, danceable and far-reaching music. Mark Rubel will interview Philadelphia engineer Dirk Devlin (and possibly some other special guests) about the stories, techniques, and style of recording, plus an examination of an 11-minute multi-track recording.
Songs we’re covering include:
Back Stabbers – O’Jays
Me and Mrs. Jones – Billy Paul
Ain’t No Stoppin’ Us Now – McFadden & Whitehead
For the Love of Money – O’Jays
You’ll Never Find Another Love Like Mine – Lou Rawls
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |