Pacific Northwest AES Section Blog

Upcoming Meeting: Sylvia Massy's Mind Blowing Microphone Museum — Part 2!

December 7, 2021 at 6:00 pm

Location: Seattle WA, USA -- via ZOOM

Moderated by: Greg Dixon

Speaker(s): Sylvia Massy - https://www.sylviamassy.com/

About our event: Part 1 of Sylvia's mic collection was seen in 2020

Register at the AES PNW Section Eventbrite page RSVP here

We had such a good time last year with Sylvia Massy showing some of the most compelling, interesting, and extremely rare mics in her collection, we asked for more! In addition to owning the largest microphone collection in the world, Sylvia maintains the world's largest library of original microphone documentation and supporting materials. She keeps over 1000 unique vintage microphone models in her studio and that's only a portion of her entire collection, which contains several historically significant and unusual microphones that simply don't exist anywhere else.

Join the AES PNW Section for this special encore presentation. This is a unique opportunity to see and learn about some extremely fascinating and rare microphones, from one-of-a-kind prototypes to industry-changing breakthroughs — Marconi-Reisz carbons to original Telefunkens, Neumann Gefells to Amelia Earhart's Western Electric, from the Rauland Duo 1247 to the MGM Church, and pretty much everything in between. You might use microphones every day in your job, but you've never seen anything like this!

About Our Presenter

She's the unpredictable producer and engineer renowned for her work with Tool, System of a Down, Johnny Cash and Prince. She's received over 25 gold and platinum records including awards for her work with the Red Hot Chili Peppers, Sevendust and Tom Petty. She's also an accomplished fine artist, a published columnist, in-demand educator, and relentless entrepreneur. But to her many friends, she's just Sylvia, the Radiant Being. Sylvia's recent book, Recording Unhinged, dares you to abandon safe record-making, to get out from behind the windshield, stick your head out the sunroof, and put the pedal to the metal! Sylvia Massy and her cohort of celebrity music industry producers, engineers, and recording stars discard fixed notions about how music should be recorded. They explore techniques that fall outside the norm and yield emotionally powerful, incredibly personal, gutwrenching, and even scary recordings.

RSVP here

6PM PST (UTC -8)


More Information

Posted: Friday, November 26, 2021

| Permalink


Past Event: Portals: The Secret Weapon of AAA Game Audio Spatialization AND Attempting to achieve in-person AND online meetings

November 21, 2021 at 6:00 pm

Location: Digipen Intitute of Technology, Redmond WA USA & online via Zoom

Moderated by: Greg Dixon

Speaker(s): Ian Shores, Highwire Games, Dan Mortensen & Lawrence Schwedler, AES PNW Section

Join us for our first in-person meeting since the start of the pandemic at DigiPen Redmond, or online in a special hybrid in-person/online meeting of the AES PNW Section.

Sound designer Ian Shores will share his knowledge of game audio spatialization while we try to equalize the local with the remote using in-person video, audio, and the internet via Zoom.

N.B. If you plan to attend in person, you must be vaccinated or tested, and you must wear a mask while on the DigiPen Premises. This is in accord with current DigiPen Policy. More details can be found at the AESPNW Website.


Portals: The Secret Weapon of AAA Game Audio Spatialization

In three-dimensional video games, audio spatialization is a key factor for driving immersion and player feedback. In this newest wave of virtual reality audio, the ostentatious audio designer speaks of techniques like ambisonics and HRTF filters. No doubt they are powerful techniques, but perhaps they receive too much credit. Realistic audio spatialization is a complex and holistic experience, and many techniques must be employed to create true spatial fidelity. ‹ AAA is an informal classification used for games produced and distributed by a mid-sized or major publisher, which typically have higher development and marketing budgets than other tiers of games. ›

One such set of techniques-transmission and portalling, i.e., how sound travels between spaces-is often overlooked, but not for good reason. Some AAA audio teams have quietly employed this technique for much longer than many may realize, and recent advancements in game audio middleware have made the tools and techniques available to a wider group of audio designers.

This talk will cover several common techniques for defining spatial audio transmission in games, explaining relatively basic concepts such as occlusion and reverb zones, as well as more advanced techniques like portals and diffraction, discussing the benefits and drawbacks of each technique. Besides the theoretical, there will be practical examples of complex transmission and portalling demonstrated using Unreal Engine 4 and Wwise.


The Hybrid In-Person and Online Meeting:

First, all in-person attendees and participants must show proof of full vaccination, per Digipen's rules, and masks are required to be worn throughout the time in the building. No one will be admitted who does not agree to abide by these rules. Refreshments, which are normally part of our meetings, will be served if allowed at that time. Online participants can do as they please.

One of the great things about the last year and a half has been our Section's ability to reach out to people all over the world and have them be part of the meetings and respond positively and appreciatively. We want to sustain that mutual positivity. This meeting will be an exploration of how to do that.

Our goal is to give online participants equal participation to those in the room, and let those in the room see and hear all that's going on in the meeting, including what remote attendees have to contribute.

Co-Presenter and Committee member Dan Mortensen has been actively exploring the possibilities of online interaction through his weekly Tea Time Topics mini-meetings that actually have turned out to be pretty maxi-, in that they allow people with like interests from all over the world to really dig into a topic to the depth that people who are really into it (like us, with audio) want to spend on it. This has evolved to the meetings routinely lasting 3.5 to 4 hours, with the record being over 6 hours (yesterday, as this is written, with Matthew Lutthans showing his mastering studio tools, tricks, and techniques). The achievable level of engagement is incredible, with people always wanting to make one more comment and then someone else wants to respond to that, and then one more again.

Dan also presented our first on-line meeting about mixing concerts on iPads using a mixing console with no physical controls, which showed us how strong the online meetings could be, and we are looking forward to see what he comes up with to make this hybrid meeting work. (He wrote this part, as he's eager to see what he comes up with, too.)

He has been consulting with Lawrence, Gary Louie, Rick Chinn, and Gordon McGregor about it and he hopes he's learned something that he can implement.

For his part, Lawrence Schwedler has also been trying to maximize the online experience for his students at DigiPen, and as the Co-Chair of the first-ever Virtual (attendance via avatars) Conference about Audio for Virtual and Augmented Reality (AVAR) in 2020 and the next AVAR in 2022.

They will briefly talk about putting this together and eagerly listen to your thoughts about how it worked/didn't work for you, and how it could be better.

Directions to the DigiPen Campus, the Eventbrite link for online Zoom link, presenter's bios, and more at the AESPNW website:  https://www.aes.org/sections/pnw/

Other Business: Save the date: December 7th, 2021. Time TBD Sylvia Massy's Mind-Blowing Microphone Museum, PART 2 ZOOM only. https://www.aes.org/sections/pnw/ for details once everything is set.

View Official Meeting Report

AESPNW Website

Posted: Tuesday, November 16, 2021

| Permalink


Past Event: Analog Tape Playback without Wow and Flutter

October 18, 2021 at 6:00 pm

Location: Virtual meeting via Zoom, Redmond WA, USA (virtual only)

Moderated by: Greg Dixon

Speaker(s): Jamie Howarth, John Chester, Plangent Processes

 Every analog magnetic recording starts with a motor dragging a rusty strip of plastic over rollers and guides, across scraping metal parts. Unfortunately, every inconsistency in the speed of the tape as it traces this obstacle course distorts the music being recorded. The transport's various imperfections create an ever-changing matrix of speed variations, slow or fast, subtle or severe.

At worst, this results in the familiar warps and warbles known as 'wow" and "flutter." It can even (as in the famous case of Miles Davis' "Kind of Blue") cause a perceptible tuning change over time.

Even the very best analog recordings - wherein the obvious wow and flutter are fairly well under control — are nevertheless affected by varying and shifting patterns of high frequency flutter, causing random beat frequencies to be introduced which seriously interfere with the natural harmonic structure of the musical material.

Until recently, there was no way to eliminate these defects and to regain the neutrality and transparency originally in the mix at the console output. With Plangent's unique combination of a wideband low-noise repro capture system and forward-thinking DSP it is possible to correct these artifacts.

What is Plangent?

The Plangent Process Playback System is a hybrid hardware/software package combining state of the art contemporary analog electronics coupled with unique digital signal processing.

It begins with an ultra-wideband low-distortion custom reproduce head and subsequent associated hand-wired preamp, followed by proprietary DSP that provides total speed stabilization and wow and flutter correction. This unique combination of integrated hardware and post-processing provides the archival mastering and preservation community a level of playback quality never before possible.

Join Jamie Howarth, President of Plangent Processes, and John Chester, Chief Transfer Engineer, as they take us through the invention and process of Plangent, with many examples of how it works.

They will show us an actual tape on an actual tape machine (remember those?) and show us the Plangent hardware capturing audio and bias. They will describe a simple case of the digital post-processing doing its thing, but some details are proprietary and won't be discussed.

The difference between the unprocessed music and a Plangent-processed version of the same music can be quite dramatic, and we'll hear examples of each.

The presentation is on Zoom (free registration through Eventbrite required to get the Zoom link; see URL), and non-Members are always welcome.

View Official Meeting Report

More Information + RSVP instructions

Posted: Tuesday, October 5, 2021

| Permalink


Past Event: Immersion Audio Mixcubed: a Cloud Based Spatial Audio Platform for Creators

June 16, 2021 at 7:00 pm

Location: Seattle Metro, WA, USA

Moderated by: Greg Dixon

Speaker(s): Paul Hubert, James D. (jj) Johnston, Jim Rondinelli - Immersion Networks

 Immersion Networks, the spatial audio innovators, are launching a cloud platform that allows anyone to upload tracks and mix them in a three-dimensional environment. Remarkably intuitive and affordable, mix3 by Immersion Networks (mixcubed.com; pronounced "mixcubed") is the first 3D audio mixing platform available to everyone—podcasters, content creators, producers, artists, and engineers--that lets them transform files into lush, intimate, headphone-ready mixes. These mixes can be appreciated without special hardware and distributed through streaming services.

The result of years of development, the Immersion Networks Mixtool was originally intended for a high powered studio workstation, but the realization that people weren't going into high powered studios anymore led to making a more decentralized offering. Immersion realized that by moving processing into the cloud, their tool would be accessible to a lot more people at a much lower cost. Not quite as driven by people not going into the studio, it was more about maximizing the impact of the tools with lower costs for all.

In use, Mixcubed is a cloud-based spatial audio mixer, taking mono (or stereo) stems, uploading them to the cloud and processing them there, while providing a simplified user interface in a browser window. Based on moving icons representing your tracks around a workspace with the listener in the center, computation takes place in the cloud, returning a stereo spatialized headphone mix. When the mix placement is complete (including relative levels, both direct and indirect in the virtual space), pressing the render button renders and returns a high quality (96/24) stereo file that is compatible with all players and distribution services. Although the target listener uses headphones, the resulting mixes work remarkably well on loudspeakers.

Mixcubed will be a subscription offering, with additional features (such as motion automation) delivered regularly.

The results are revolutionary.

See for yourself! Headphones recommended.

A Musical example

Other Business: Annual Section Business Meeting and Elections See: https://www.aes.org/sections/pnw/bio2021.htm for more information.

View Official Meeting Report

More Information, presenter's bios, RSVP info

Posted: Sunday, May 23, 2021

| Permalink


Past Event: SMAART: History, Applications, Case Studies and the Role of Curiosity in Audio

Rational Acoustics logo

Rational Acoustics logo

May 17, 2021 at 6:00 pm

Location: Seattle Metro area, Seattle, Washington, USA

Moderated by: Dan Mortensen

Speaker(s): Michael Lawrence & Jamie Anderson - Rational Acoustics

Smaart is an FFT-based audio analysis program. The name stands for System Measurement Acoustic Analysis Real-time Tool. Smaart can be used in many ways to examine sound systems in detail in order to diagnose and solve problems, and to confirm proper setup and operation. It can also be used to characterize the performance of and diagnose problems with the components of those sound systems, as well as components of the system's acoustic output itself and the space containing the sound. In many ways, the program's capabilities are only limited by the user's imagination, and this meeting will explore these capabilities and more.

Starting off with a brief history of FFT audio analysis, we'll look at how it got translated into audio use, and how Smaart came to be and to evolve into what it is today. Rational Acoustics' President Jamie Anderson, who has been present and active in much of the history of FFT audio analysis, will share some of that history with us.

Jamie and Michael Lawrence, Rational Acoustics' Application Support Specialist and Smaart SPL Product Manager, will guide us through some of the ways Smaart is used to assist in evaluating sound, both conventional and unconventional. This includes the idea of "sandbox engineering," which is using your available tools to design experiments that allow you to answer your own questions rather than waiting for someone else to answer them for you.

Our own Bob Smith will be on hand to share his experiences and usages of Smaart. Other attendees' experiences and usage stories will be welcomed.

This Zoom meeting is free to all, and free tickets are available at the Eventbrite link below. We require that all present use their real names in Zoom, mute your microphone and turn off your video during the presentation except when asking questions, and that each attendee gets tickets through Eventbrite (no account needed, no ticket sharing) so we can know how many people are going to attend. Our Zoom account has a finite capacity.

Other Business: Election notice: The following persons are nominated: Chair - Greg Dixon, Vice-Chair - Bob Smith, Secretary - Gary Louie, Treasurer - Lawrence Schwedler Section Committee: Jess Berg, Micah Hayes, James D. (JJ) Johnston, Dr. Michael Matesky, Dan Mortensen The actual election takes place at the June 2021 Meeting.

View Official Meeting Report

AES PNW Website

Posted: Tuesday, May 4, 2021

| Permalink


Past Event: Recording Songs with Caspar Babypants

April 7, 2021 at 6:00 pm

Location: Seattle WA metro area (Zoom meeting)

Moderated by: Greg Dixon

Speaker(s): Caspar Babypants (aka Chris Bellew) - Babypantsmusic.com

April Meeting Notice
Recording Songs with Caspar Babypants


Presented by
Caspar Babypants
Writer, Musician, Producer
and the
AES PNW Section


Wednesday, 7 April, 2021

Seattle-based artist Caspar Babypants has released 18 albums of clever, catchy, and irresistible music for children since 2009. The mastermind behind Caspar Babypants is Chris Ballew, who first gained national notoriety in the '90s with the group The Presidents of the United States of America. Ballew records and produces the Caspar Babypants albums at his studio where he works and occasionally collaborates with other musicians. Across his catalog of recordings he has created a unique high-fidelity sound with both acoustic and electronic instruments that remains remarkably consistent across all of his albums. At this meeting, participants will get a chance to learn from Ballew about his approach to recording albums and get an inside look at the artist at work in his studio. We encourage families, children, and people of all ages to attend this online meeting. Participants will have an opportunity to ask questions and talk with Ballew about his musical legacy.

Caspar Babypants

WHO? Caspar Babypants is also known as Chris Ballew. Chris is the three time Grammy nominated songwriter and lead singer for the four times platinum Seattle based rock and roll band The Presidents of the United States of America.

WHAT? Caspar Babypants makes high quality, thoughtful, simple, acoustic sing along songs for parents and kids 0 to 6 years old to enjoy together. In addition he writes children's books with his wife Kate Endle. Kate illustrates the books and creates the cover art for the Caspar Babypants albums.

WHEN? Caspar began writing songs for kids in the summer of 2008 and put out his debut record in 2009. The 18th album "HAPPY HEART!" came out on 11/13/20. There are also a bunch of books written by Caspar and illustrated by his wife Kate Endle. "My Woodland Wish" and "Bunny Rabbit In The Sunlight" were published in 2011 and a third book called "Augie to Zebra" came out in 2012. There are two new books titles "Penguin On A Scooter" and "Ocean Motions" both of which came out in 2018.

WHY? Caspar says: "Having young children is a joyous and unforgettable experience. However, the home of new parents can also be a stressful, sleepless and nervous environment. That is why I make music that is a positive, helping component in the home and car where young families spend a lot of time together. I want to help parents sing to and with their children and provide a shared happy musical experience for the whole family. I specifically want to make music for newborn to 5 year old kids because I admire their associative, inventive imaginations and as an adult I nurture that same creativity and state on mind in myself." Caspar is also involved with several non-profits that focus on parent education and outreach to neglected and abused kids and homeless families.

WHERE? Caspar Babypants lives in West Seattle and Vashon Island by the beach and in the woods where the songs are.


Reservation required.

Other Business: June Election Notice. If you're interested/willing to participate in the operation and activities of your Section, you can do so by serving on the Section Committee. If this interests you, please contact any Section officer or committee member for further details.

View Official Meeting Report

More Information

Posted: Monday, March 15, 2021

| Permalink


Past Event: Diversity and Inclusion for the AES PNW SEction

March 10, 2021 at 6:00 pm

Location: Redmond WA, USA Via Zoom

Moderated by: Greg Dixon

Speaker(s): Dr. Angela Dane, Atrocity Drums; Maria Garcia, multi instrumentalist & producer, Ryan Lee, multi instrumentalist and live sound engineer; Lillian Blair, Staff Engineer @ Vera Project

Note: the meeting time is Pacific Time, UTC -8.

AES PNW Section | March Meeting Notice
Diversity & Inclusion within the AES PNW Section
Presented by
Dr. Angela Dane
Teacher, Writer, Musician, Producer
and the
AES PNW Section

Wednesday, 10 March, 2021

At the 133rd AES Convention (San Francisco, 2012), Karrie Keyes and Michelle Sabolchick Pettinato participated in the "Women of Professional Concert Sound" panel; SoundGirls was then established to provide women working in professional audio a community to come to for support and advice, and for empowerment and inspiration.

Dr. Angela Dane, our presenter, thinks the PNW Section could provide similar mentorship programs, perhaps in conjunction with the Audio Production Certificate program at UW, of which she is currently a student. As of now, there are zero women or people of color as instructors in the program.

Dr. Dane created the Facebook group Womxn & Audio (Seattle), to connect women and non-binary engineers and audiophiles and to learn from others' wisdom and experience without fear of intimidation or inherent bias. It began as a small group of 5 and quickly grew to 200. They have invited legendary engineers like Susan Rogers to speak to their group as well as holding masterclasses on the basics of audio, mixing, and mastering.

Professionals in the field, like Latin Grammy nominee Maria Elisa Ayerbe, have given demos of their mixing techniques and methods. On January 14th, Leslie Gaston-Bird, author of Women in Audio was interviewed by our group to discuss her research as well as the lack of representation of women of color in the field. Seattle is no exception in this regard. The group is extremely productive and encouraging, clearly responding to a demonstrated need within the community.

Dr. Dane's band, Atrocity Girl, built their own DIY studio at home, due to unfortunate incidents with male engineers in Seattle studios, including one who threatened their bassist, another who hit on their guitarist, and another who sent inappropriate Facebook messages and another commented — the moment the band walked in — "women are always wasting time talking." This immediately made everyone feel insecure and guarded. These four instances occurred in 2020, weeks apart, as they attempted to find a fit for their all-girl band to record their debut album.

Message from the AES Diversity and Inclusion Committee Co-Chairs: Mary Mazurek and Cecilia Wu

The AES Diversity and Inclusion Committee Co-Chairs will provide updates on the committee's current plans and efforts. The Diversity and Inclusion Committee was formed to advance various strategic goals towards building a more diverse and inclusive AES. The committee is comprised of dedicated members from across the globe and in various audio-related trades.
Dr. Cecilia Wu obtained her Master of Arts degree from Stanford University and obtained her Ph.D. in Media Arts and Technology from UC Santa Barbara. As a musician, Dr. Wu's work has been published by Cambridge University Press, SEAMUS, ICMC, NIME, Audio Engineering Society (AES), Springer, IEEE, EMI Records, SONY, Warner Music, Universal Music Group, and many music labels and publishers around the world. As a multimedia artist, she received the "Young Alumni Artist Grant Award" from Stanford University and her work was acquired by the Denver Art Museum for their permanent collection. As a scholar, she has received research awards from AES, the University of California, the University of Colorado, and the U.S. National Academy of Sciences.
Currently, Dr. Wu is an Assistant Professor at the University of Colorado's College of Arts and Media and the Editor-in-Chief of the Society for Electro-Acoustic Music in the United States (SEAMUS).
Mary Mazurek is a GRAMMY-nominated recording engineer. The Recording Academy awarded her nomination at the 61st Annual Grammy Awards in the category of Best Engineered Album, Classical. She is also a broadcaster and radio/podcast producer. Her work is regularly featured on WFMT Radio and WFMT.com. Additionally, she is a sought after educator and speaker who enjoys contributing in the classroom and on panels and committees within her industry and beyond. She serves as a role model and advocates for women in the recording industry, which is currently less than 5% female. She loves sharing her sonic insights across disciplines.
Mary began her career as a recording engineer in 1992 after studying under Murray Allen and Tom Miller at DePaul University and Universal Recording, Chicago. Since then, she has engineered thousands of sessions for albums and broadcasts. Her credits include Alec Baldwin, The Chicago Chorale, The Civic Orchestra of Chicago, Charles Earland, Michael Feinstein, International Music Foundation, Justice Ruth Bader Ginsburg, Kronos Quartet, LA Guitar Quartet, Howard Levy, Lyric Opera, The New York Philharmonic, Yo-Yo Ma, Johnnie Hammond Smith, Dr. Lonny Smith, and many others. Her work can regularly be heard on WFMT Radio, Chicago, in syndication in the U.S., and throughout the European Broadcast Union. Her recordings appear on the Bellissima, Cannonball, Çedille, Delmark, Lyon & Healy, MSR, Naxos, Random House, Sheridan, and Sounds True labels.
She is on the faculty of Columbia College's Audio Arts and Acoustics Department and DePaul University School of Music. She has also taught at The Illinois Institute of Art and the Merit School of Music. She has guest lectured at Cleveland State University, Ohio University, UC Denver, University of Illinois Urbana, and Northeastern Illinois University.
Mary is a voting member of The Recording Academy. She has served as a governor and task-force chairperson in that organization. She was elected the first woman president of EARS of Chicago and continues to serve as a steering committee member. She is a Member of the Audio Engineering Society and is chairperson of the Diversity and Inclusion Committee. She is currently a member of the exclusive DPA Master's Club and an Educational Advisor for Leapwing Audio.
Mary is also an interdisciplinary artist whose work is based in sound and image. She received her MFA in Interdisciplinary Art from Columbia College, Chicago, IL, and is currently pursuing a Ph.D. in Art Theory from IDSVA, Portland, ME. Her work has been exhibited in Chicago, New York, Mexico, and Berlin.
"Representation is imperative to inspire the next generation of engineers from all backgrounds and genders. We cannot be what we cannot see, and it is imperative to try to change a narrative that refuses to include women," says Dr. Angela Dane

This is a Zoom meeting, and your RSVP is required to attend.
The RSVP link and the presenter's bio sketches can be found at the AES PNW Section website: https://www.aes.org/sections/pnw

View Official Meeting Report

More Information

Posted: Monday, March 1, 2021

| Permalink


Past Event: Motown: In the Studio Where it Happened

February 23, 2021 at 6:00 pm

Location: Around the Puget Sound, WA, via zoom

Moderated by: Greg Dixon

Speaker(s): Bob Olhsson - Former Motown Engineer

 Note: Meeting time is Pacific Time Zone!

Imagine being a fly on the wall at Hitsville Studios (aka Motown Studios). Bob Olhsson began his Motown Career in the cutting room at Hitsville where he interfaced with every part of the company: cutting, recording, mixing, and mastering. Gradually, he moved into doing all of those functions, while learning their unique approach to the record business. Remember, it was 1965 and studios were very homespun; the techniques we take for granted today were being invented!

It was truly an amazing wall, and an amazing time.

About Bob Olhsson

Bob Olhsson spent 7 years at Motown. While he was there, he recorded and mastered nearly 100 top ten singles including 42 #1s. One of only two people to hold every recording engineering position in the company, he worked on Stevie Wonder's first productions and Motown's first successful rock act, Rare Earth.

More to be found on our website. RSVP required to attend.

View Official Meeting Report

More Information, presenter's bio, RSVP info

Posted: Sunday, February 7, 2021

| Permalink


Past Event: Auditory Mechanisms for Spatial Hearing (Was Hearing 101)

January 28, 2021 at 6:00 pm

Location: Redmond, WA - Via Zoom

Moderated by: Greg Dixon

Speaker(s): James D. (JJ) Johnston - Chief Scientist, Immersion Networks

Auditory Mechanisms for Spatial Hearing


Since it's been a while, JJ will summarize the content of that talk and then discuss the features of hearing that provide binaural cues, such as
  • time (phase) arrival,
  • frequency shaping,
  • dispersion (acoustic, both head related and transmission related), and
  • how they interact with directional, distance, and external/internal sensation.
This talk will not be a complete discussion, as there isn't enough time, but it will touch on the major points relating to sensation and spatialization. A variety of hearing and acoustics matters will be presented in a high-level fashion.

The meeting will be a virtual one, via Zoom. We use Eventbrite for ticketing (free). Refer to our website for the EB link and JJ's Bio. The meeting report for Hearing 099 can also be found there. Besides the written report, there are both audio and video recordings of the meeting.

View Official Meeting Report

More Information, presenter's bio, RSVP info

Posted: Friday, January 8, 2021

| Permalink


Past Event: Mercury Living Presence - A Technical History

November 11, 2020 at 6:00 pm

Location: Zoom Meeting, Seattle, WA USA

Moderated by: Greg Dixon

Speaker(s): Tom Fine - Tom Fine Audio Services

 Our November meeting traces the technical history of one of the world's most highly regarded classical music labels. Recognized for a catalog of groundbreaking recordings from the 1950s and '60s, the label began to flourish in the early 1950s with the single-microphone technique to record an entire symphony orchestra. When stereo recording dawned in the mid-1950s, Mercury's technique evolved to 3 spaced omni-directional mics. The label focused on symphonic music with conductors Antal Dorati, Paul Paray, Howard Hanson and Rafael Kubelik, and on Frederick Fennell's pioneering Eastman Wind Ensemble. Among many firsts was a 1962 recording trip to Moscow, the first time an American crew recorded Russian musicians using American equipment. Long loved by vinyl collectors, Mercury Living Presence was entirely out of print at the beginning of the CD era. The original producer, Wilma Cozart Fine, was hired to remaster most of the stereo catalog and some mono titles for CD. In the past decade, Universal Music Group – Decca Classics, the current owner of Mercury Living Presence, brought back into print all of the 1990's CDs, plus 27 newly-remastered titles. In no prior era was this much of the catalog available at the same time! The full catalog will soon be available on the major streaming platforms, and new reissues are planned for 2021.

Tom Fine, son of Wilma Cozart Fine and C. Robert Fine (original producer and engineer), was consulting engineer and booklet co-author for two of the 3 CD box sets, and remastered 20 of the newly reissued CDs. He also oversaw all-analog LP reissues of two titles for Chad Kassem's Analogue Productions. In this presentation, he will detail MLP's progress from single-mic mono through the 3-spaced-omni stereo techniques. He will also discuss the 35mm mag-film recording medium and detail the 1990s CD reissue program and the more recent remastering projects.

Registration required. Please refer to our website: https://www.aes.org/sections/pnw/

View Official Meeting Report

More Information, presenter's bio, RSVP info

Posted: Saturday, October 24, 2020

| Permalink


RSS News Feed


AES - Audio Engineering Society