AES Section Meeting Reports

Wisconsin - August 25, 2015

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6 - 6:20PM: Introductions
Mike Olson explained what used to be E Labs, prior to 2006/2009, is now a part of a network to empower Madison Musicians, via Madison Music Foundry, Super Duper! etc. Blast House sets a serious standard and expects clients to follow suit.
The new website allows for online reservations, provided a down payment is submitted. No impulse buys!

6:30PM: Studio A
They run PT 10 HD Native to record on a DigiDesign Control 24 console, with nearfield active JBLs, the LSR6328P's, a JBL LSR 6312 sub, and Yamaha HS50M's. Their outboard gear: Aardvark AardSync mk2, 2 A.R.T. Tube Pacs, Valley People Dyna-Mite, Empirical Labs Distressor, a Drawmer 1969, Chandler EMI, Universal Audio 1176LN & 610B, and 2 Trident S100's — 16 Channels.
Of all the pre's available, Landon's go-to is the A.R.T. Tube Pac, great for unclean guitars, due to the auto-release limiter. He also frequently uses the Chandler and the 1176. He records at 44.1 kHz with a HW Buffer of 128 samples and no low latency monitoring. Then a HW buffer of 1024 while mixing.
We listened one of The Big Payback's tracking sessions...He put an EV PL44 (dynamic supercardioid) on the Snare, positioned above it, but pointed sideways, towards the HH, as Dustin Sisson had showed him, for a cleaner signal. He also pointed to the ClaireSonics Plug-in Mix for kicks.

7PM Live Room
The floor was built on 2x8's laid sideways covered with hockey pucks, sand, and layers and layers of flooring. We discussed the acoustics and the presence of glass, Matt Leplant brought up Walters-Storyk, glass on the right technique..

7:30PM Studio B
The live room acoustics, 3-D listening. Other topics: 192s vs. Omni's, 32-bit audio, Heat license, Bon Iver's vocal chain; Youtube, iTunes, Spotify, and volume attenuation.

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AES - Audio Engineering Society