Location: NYU's Steinhardt 35 West 4th St 3rd Floor
Moderated by: Howard Schwartz and Maggie Luthar
Speaker(s): Avi Laniado – Harbor Films; Dan Millice – Engine Room Audio; Jared Goodstadt – High 5 Games; John Kilgore – John Kilgore Sound & Recording; Howard Schwartz – Consultant and owner of the legendary HSRNY Studios; Jon Kita – Conclave Studios; Mike Battaglia – CEO, Triomi
What part of the audio business do you want to break into? How do you do it? Is your entry into the audio workforce imminent? Are you still in an audio-centric program and want to get ahead of your peers? Then attend this meeting and gain insights from those in the business.
What do people look for in prospective interns? What do they expect interns to walk away with when their internship is finished? Does interning give you an advantage over others when trying to get an assistant position?
If you have already completed an internship, then what do people look for in prospective assistants? What is the progression from an assistant? What skills are emerging that are important to have?
The audio business changes regularly. How have things changed over time? How have they
stayed the same? What things are not taught in schooling that can only be learned by actually being involved at a facility?
If you attend this meeting, you will hear these questions and others addressed.
Posted: Sunday, March 6, 2016
Location: Clive Davis Institute of Recorded Music, NYU - Studio 510. 194 Mercer Street - 5th Fl
Moderated by: Jim Anderson
Speaker(s): Alex U. Case - University of Massachusetts Lowell
Distortion, deliberately applied to elements of your mix, is a source of energy that lifts tracks up out of a crowded arrangement and adds excitement to the performance. Accidental distortion, on the other hand, is a certain sign that the production is unprofessional, dragging down its chance for success. Amps, stomp boxes, tubes, transformers, tape machines, the plug-ins that emulate them, and the plug-ins that create wholly new forms of distortion all offer a rich palette of distortion colors. Mix engineers must know how to choose among them, and how to tailor them to the music. Case takes a close look at distortion, detailing the technical goings-on when things break-up, and defining the production potential of the most rebellious of effects.
Alex U. Case has dedicated his professional life to the study of aesthetics, perception, signal processing, electro-acoustics and room acoustics for the creation and enjoyment of recorded music. An Associate Professor of Sound Recording Technology, Case leads classes, sessions and research with undergraduate and graduate students at the University of Massachusetts Lowell.
AES President-Elect and a Fellow of both the Audio Engineering Society and the Acoustical Society of America, Case is an engineer, educator, and author - for Focal Press, and lynda.com - who speaks frequently on audio and acoustics across the United States and worldwide. With degrees in Mechanical Engineering, Music, and Acoustics, Professor Case lives and works at the intersection of audio art and science.
Posted: Wednesday, December 16, 2015
Location: The New School for Jazz Performance 5th floor?55 West 13 Street?between 5th & 6th Avenues New York, NY
Moderated by: Robert Auld, AuldWorks
Speaker(s): Vincent Pelote, Director of Operations, The Institute of Jazz Studies, Rutgers University; Seth B.Winner, President, Seth B. Winner Studios
Benny Goodman's January 16, 1938 concert in Carnegie Hall was one of the most important musical events of its era. It signified a major cultural shift, in which jazz was accepted as more than just entertainment played in "low" venues like brothels and speakeasy's. The recording of the concert, first released in 1950, was an immediate hit and has never been out of the catalog since. It is, simply, the largest selling jazz album of all time.
There have always been mysteries and misconceptions about how the concert was recorded and what source was used for the initial 1950 LP release. Further, when Columbia reissued the concert on CD in the 1980's, it appeared that the original transcription disk recordings made in 1938 had been lost, so the first CD issue used the 1950 tapes. In the 1990's, Phil Schaap, backed by the resources of Sony (who now owned the Columbia catalog), finally tracked down the original disks and produced a reissue from them in 1999. That reissue was controversial, as many of the problems of reproducing 1930's era transcription disks were not dealt with as well as they might have been.
So matters stood until recently, when Seth Winner, one of the most experienced historical transfer engineers around, came into possession of the original transcription disks. At this AES New York section meeting Vincent Pelote and Mr. Winner will discuss the importance of this concert, the origins of this particular set of discs, and the problems that are present in this source as well as in all the previous re-masterings. We will hear audio examples illustrating both the problems that are present and the digital techniques that can be used to restore the sound for possible future reissues.
Posted: Monday, September 28, 2015
Location: The New School for Jazz Performance, 55 West 13th St
Moderated by: Ray Archie, CEO of MixLuv, Inc.
Speaker(s): artist, Richard Barone; engineer, producer, and song-writer, Jack Douglas; Deezer’s VP of Music Rights and Label Relations, Julien Simon; entertainment & trademark attorney, Keith A. Weltsch, Esq.; S-Curve Records head and GRAMMY-winning producer, Steve Greenberg; SESAC’s VP of Writer/Publisher relations, Linda Lorence-Critelli.
The New York Section of the Audio Engineering Society, The Recording Academy’s New York Chapter, and The New School for Social Research will present a panel discussion on ‘Understanding Copyrights’. From the “Fair Play, Fair Pay Act” to promises of digital royalties for Producers, Mixers, and Engineers, new bills in Congress seem to guarantee a new brighter horizon for many who have not enjoyed this type of revenue in the past. But is this future so promising? This panel discussion will explore details of these new house bills as well as touch on under-utilized or unclaimed revenue based on existing royalty, rights, and trademarks.
You must RSVP by clicking More Information below to attend. Space is limited.
Posted: Friday, May 22, 2015
Location: Dolby Laboratories NY Screening Room 1350 Ave of the Americas Main Floor
Moderated by: Ken Hunold
Come help mark the 50th anniversary of Dolby Laboratories. Chartered on May 17th 1965, Dolby was set up as an American corporation by Ray Dolby, but located in offices in London, England.
Dolby’s first office in the USA was at 333 Avenue of the Americas, in space sub-let from friend and part time office manager Marc Aubort of Elite Recording.
Help us turn on the “way-back” machine and trace the path of Dolby Laboratories through its products and locations.
Bring your own recollections of Dolby stories (old ones, but new ones are OK, too.) You may be asked to tell your stories to the group.
Posted: Wednesday, May 20, 2015
Location: ABC Television Network , 47 W 66 St., NYC
Moderated by: David Bialik – CBS Local
Speaker(s): Troy Jensen, Shure; Chris Spahr, DPA; Karl Winkler, Lectrosonics; Alan Venitosh, TELEFUNKEN Elektroakustik;
This will be a discussion of technology and technique not a sales presentation. We hope to discuss the considerations that go into mic design, materials, how polar charts are read/misread, types of mics, placement, how to use the mic, and the various uses.
Bios:
Troy Jensen has been involved in the audio/visual industry for over 30 years in various capacities. His expertise includes Architectural Acoustics, Audio/Video System Design, and Project/Business Management. He currently is a Market Development Specialist with Shure, Inc. has held high level consulting/management positions with Peter George Associates, RPG Diffusor Systems, and ALTEL Systems. His involvement in the industry includes contributions within the Manufacturing, Consulting Engineering, Music Production, Live Sound Reinforcement, and Systems Integration aspects of the business. He is also certified on several computer predictive techniques as they relate to acoustics and audio-visual systems design and is trained on several measurement systems to document the performance of these spaces/systems. He currently is a guest lecturer at the Yale School of Drama for the M.F.A. Technical Design and Production program.
Christopher Spahr has a bachelor’s degree in business administration from Barry University and a recording arts associate’s degree from Full Sail University. His 20-year career spans the music, recording arts and pro sound industries. He comes to DPA Microphones as Area Sales Manager for Eastern U.S. from RTW, where he oversaw U.S. sales and operations. Prior to that, he spent seven years as a Market Development Manager and certified U.S. RF Expert for Sennheiser, in both the installed sound and professional channels. He has also served as Staff Engineer at Criteria Studios in Miami, Florida and performed live sound work for various concerts, corporate functions and theater applications.
Karl Winkler is currently Director of Business Development for Lectrosonics, Inc., a leading manufacturer of wireless microphone, networked audio and matrix mixing products for professional use. Mr. Winkler has provided hundreds of frequency coordinations and wireless microphone system designs for theaters, broadcast studios, reality TV and feature film productions, major touring acts and houses of worship. Prior to Lectrosonics, Mr. Winkler worked as Brand Manager for Neumann/USA and Business Area Manager for Professional Products at Sennheiser USA. Mr. Winkler holds a Bachelor of Arts in Music Performance from the University of Arizona and a Certificate of Advanced Studies in Recording Arts from the University of Southern California. In his spare time, Mr. Winkler enjoys time with his wife and daughter, and performing classical music in the Albuquerque Philharmonic Orchestra and the Petroglyph String Quartet.
Alan Venitosh has been a recording and audio engineering enthusiast his entire life. Spending time as a touring musician in his late teens and early 20s, Alan experienced both sides of the glass in the recording studio environment, acting as both performing musician and audio engineer. He graduated with a Bachelors Degree in Music Production & Technology from the Hartt School of Music at University of Hartford in 2002. His experience in music retail and interest in electrical engineering lead him to his position at TELEFUNKEN Elektroakustik, manufacturers of some of the world’s finest vacuum tube based microphones. His current role as Director Of Operations finds him participating in the development of new microphone technology, as well as forensically looking to the past for historic European microphone design. Alan is an expert in microphone technique and application.
Other Business: SEATING IS LIMITED. You must register via EventBrite. Click on the link below.
Posted: Tuesday, March 24, 2015
Location: Institute of Audio Research 64 University Place Room 21 -and- NYU's Steinhardt Studios 35 West 4th St 6th
Moderated by: Dan Gaydos, IAR; Jonathan S. Abrams, Nutmeg Post
Speaker(s): Emily Brodtman – Composer and Sound Designer, IAR 2014 Graduate; Marios Aristopoulos – PhD candidate, City University London, Generative Music in Video Games, IAR Faculty; Howard Schwartz - Consultant, owner of the legendary HSRNY studios; Dan Venne - VP creative/production, Man Made Music
What part of the audio business do you want to break into? How do you do it? Is your entry into the audio workforce imminent? Are you still in an audio-centric program and want to get ahead of your peers? Then attend this meeting and gain insights from those in the business.
What do people look for in prospective interns? What do they expect interns to walk away with when their internship is finished? Does interning give you an advantage over others when trying to get an assistant position?
If you have already completed an internship, then what do people look for in prospective assistants? What is the progression from an assistant? What skills are emerging that are important to have?
The audio business changes regularly. How have things changed over time? How have they
stayed the same? What things are not taught in schooling that can only be learned by actually being involved at a facility?
If you attend this meeting, you will hear these questions and others addressed.
There will be a telecom link between both IAR and NYU for this co-hosted event. People at one location will be able to interact with those at the other.
Posted: Saturday, March 7, 2015
Location: The New School for Jazz Performance 55 West 13 Street, between 5th & 6th Avenues 5th floor auditorium
Moderated by: Bill Siegmund, Digital Island Studios, LLC
Speaker(s): Julie Glick, Au.D., F-AAA, Doctor of Audiology, Musicians Hearing Solutions David Haines, independent FOH engineer
Musicians, engineers, sales staff, designers, installers and music lovers of all stripes have one need in common: we must understand the sounds we are hearing. However, many of us take for granted the marvelous system our bodies have developed for receiving and processing sound. And some are so casual with the care and maintenance of that system that in the course of our daily lives we end up damaging our ears - the most important tools we have for doing the jobs we love.
Our two guests will take us on a fantastic voyage through our hearing system and talk about functional strategies for hearing protection and preservation, including annual hearing testing, monitoring sound level exposure, custom musicians earplugs and in-ear monitors. Information will be presented from the perspective of the medical profession and real-world professional audio applications. Please join us for what will surely be an informative and “ear-opening” evening.
Dr. Glick was first introduced to custom in-ear monitors and musicians earplugs when she started her career in a private practice in Los Angeles, California in 1997. Her passion for music and commitment to the field of audiology led her spend time backstage and in rehearsal studios with engineers and musicians of all genres. Through this experience, she has gained great insight and appreciation for all the technical details that go into live musical performances and how important hearing and hearing conservation is to musicians and music fans.
Dr. Glick received her Bachelor of Arts degree in Speech and Hearing Science from The Ohio State University, Master of Science in Communicative Disorders from California State University, Northridge and Doctor of Audiology from the Pennsylvania College of Optometry, School of Audiology. Dr. Glick is a licensed Audiologist and Hearing Instrument Dispenser in the state of New York and a Fellow of the American Academy of Audiology.
David Haines has served as a professional Front of House sound engineer to the worlds leading artists for the past nineteen years. For his graduation project as an audio engineering student at Loyola Marymount University, he recorded the demos for a small unknown LA-based hip hop band, which led to that band being signed to a record deal. That band turned out to be The Black Eyed Peas. Due to the success and quality of his mixes, The Black Eyed Peas asked him to record their debut breakthrough album, Behind the Front, at Paramount Studios. Mr. Haines has continued as the guiding force behind The Black Eyed Peas live sound, and he is sought after for world tours by other multi-platinum artists such as John Legend, Rihanna and Natasha Bedingfield.
As a sound engineering consultant for Musicians Hearing Solutions, Mr. Haines brings a unique understanding to assist listeners with all of the high end technology available to accomplish demanding performances both with in-ear monitors and front of house equipment.
The event is free of charge
The first 50 guests will receive a free pair of Etymotic Research ETY Plugs
Enter the raffles for
a pair of JH Audio Roxanne Universal Fit Earphones
a pair of Ultimate Ears Custom Reference Monitors
Posted: Thursday, February 12, 2015
Location: NYU Steinhardt Studios, 35 West 4th St, 6th Floor, New York, NY 10012
Moderated by: Jonathan S. Abrams, Nutmeg Post
Speaker(s): Dr. Simon Zagorski-Thomas, Reader in Music, London College of Music, University of West London
Simon Zagorski-Thomas’ new book, The Musicology of Record Production, looks at the theory behind record production. He examines both how you can analyse the sound of recorded music and the process of making it. In this talk he will look at the business of music, both in terms of the industries that produce the technology and the record companies that broker the deals that make productions happen. How do these business deals make a difference to the actual sound of the recordings that get made? Using a series of examples, he will explore some of the ideas from his book.
About the Presenter: Simon Zagorski-Thomas is a Reader at the London College of Music, University of West London. He is a director of the annual Art of Record Production Conference, a co-founder of the Journal on the Art of Record Production and co-chairman of the Association for the Study of the Art of Record Production (www.artofrecordproduction.com). His publications include The Art of Record Production (co-edited with Simon Frith, 2012). Before becoming an academic he worked for twenty-five years as a composer, sound engineer and producer with artists as varied as Phil Collins, Mica Paris, London Community Gospel Choir, Bill Bruford, The Mock Turtles, Courtney Pine and the Balanescu Quartet. He continues to compose and record music and is currently conducting research into the musicology of record production, popular music analysis and performance practice in the recording process.
The Musicology of Record Production at Cambridge University Press
Posted: Tuesday, November 11, 2014
Location: The New School for Jazz Performance, 55 West 13 St, 5th floor
Moderated by: Robert Auld (AuldWorks)
Speaker(s): Scott Hull (MasterDisk), Paul Gold (Salt Mastering), Kevin Boutote (formerly Vanguard Records)
After the introduction of the Digital Compact Disk in 1983, it was only a matter of time until the vinyl LP would be obsolete, a relic of the past like 78's and open reel tapes. That was what everyone thought. Indeed, by the mid-1990's, the major record labels had stopped issuing albums as LPs. Twelve-inch singles hung on because DJs wanted them for "scratching", but the vinyl album was dead—or so it seemed.
But after the turn of the century, something surprising happened: some artists decided to issue their albums as vinyl LPs as well as CDs. At first it just seemed like a "niche" thing, but then, sales actually started to increase. We now find ourselves in an age where, as CD sales and file downloads are dropping off, vinyl album sales are going up, to the point where existing pressing plants are having trouble keeping up with the demand.
The reasons for this resurgence can be debated, but it is undeniable that there is now a generation of audio engineers and producers for whom the vinyl LP is something new. It is time for a new look at the strengths and limitations of this venerable audio format. To that end, we have invited an expert panel to share their experience and knowledge about the making of LPs.
Scott Hull: A 28-year veteran mastering engineer and the owner of Masterdisk studios in NYC, Scott started his career in 1983 and has mastered hit records and classic albums in every genre, as well as many Grammy winning titles. Scott is consistently listed in the top 10 of the Top 100 Professionals list at albumcredits.com.
Paul Gold: Paul learned his way around the record cutting lathe by working with the late Al Grundy, who knew everything there was to know about how to operate, build and refurbish record lathes and cutter heads. Paul has since founded Salt Mastering and has become one of the go-to guys for vinyl disk cutting on his Neumann VMS-66 lathe.
Kevin Boutote: Kevin is currently chief audio engineer at the Manhattan School of Music. From 1977 to 1980 he was in charge of quality control for vinyl at Vanguard Records. From 1987 to 1995, Kevin was on staff at CBS Records(Masterworks)/Sony Classical/Sony Music, engineering many front-line classical projects, and mastering reissues for CD, including the MasterSound gold CD series, beginning in 1993. He will fill us in about what is involved with plating and pressing vinyl records, and related manufacturing issues.
Posted: Monday, October 6, 2014
