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AES Convention Debuts Sound For Pictures Track

Top Mixers Address Digital Audio Cinema Techniques, Formats & Standards

SAN FRANCISCO: The 133rd AES Convention (Moscone Center, Oct. 26-29), will introduce a dedicated Sound For Pictures Track. Featuring award-winning presenters focused on key technical and creative issues related to digital audio production for feature films and TV, the Track is co-chaired by leading sound mixer/producer Brian McCarty (“The Big Lebowski,” “Dick Tracy,” “As Good As It Gets”) and by Steve Martz, Sr. Design Engineer, THX Ltd. Key issues to be addressed by the Sound For Pictures Track include: Post Production Techniques, Standards and Multi-Channel Formats for Digital Cinema.

“The AES is the leading forum for audio for film and TV sound,” McCarty says. “Top sound mixers have been attending the Convention for years to exchange ideas and information and kick the tires on new technology. Early this year we formed a Technical Committee on Sound for Digital Cinema & TV. Our objective is to adopt a consistent approach for Digital Cinema sound installations, and contemporary digital dubbing stage recording and mixing activities worldwide. Based on the initial reception to this Committee, Executive Director Bob Moses felt it was time to develop a formal AES Convention Track for this increasingly important field,” McCarty adds.

SATURDAY, Oct. 27, AES Sound For Picture Track Presentations Include:

POST PRODUCTION AUDIO TECHNIQUES FOR DIGITAL CINEMA & ANCILLARY MARKETS: Chair, Brian McCarty, managing director, Coral Sea Studios, Australia; Panel, Lon Bender, Oscar-winning, effects designer & mixer, Soundelux, LA; Brian Vessa, leading sound mixer, Sony Pictures, LA; Jason LaRocca, Emmy-nominated independent mixer. As the film industry rapidly moves towards full-bandwidth, multi-channel discrete formats for audio distribution, post-production techniques to provide high-quality audio continue to evolve. This workshop will address technical and creative changes being implemented to accommodate this shift.

RECONSIDERING STANDARDS FOR CINEMA SOUND – ALTERNATIVES TO ISO 2969: Chair, Brian McCarty; Floyd Toole, pioneering acoustical consultant/ retired, Harman Research, corporate VP; Keith Holland, University of Southampton, UK. For over eighty years ISO 2969 (aka SMPTE S202) has been a cornerstone of the audio reproduction “B-Chain.” Like the RIAA curve, it was originally implemented to compensate for defects in the delivery medium. This panel will examine the implications for these standards and the B-Chain as film rapidly shifts to Digital Cinema delivery, with, for the first time, full bandwidth soundtracks.

NEW MULTI-CHANNEL FORMATS FOR 3D CINEMA AND HOME THEATER: Co-Chairs, Christof Faller, Illusonic GmbH, Brian McCarty, Chair, AES TC-SDCTV; Erno Langendijk, Philips; Wilfried Van Baelen, Auro-3D, Belgium; TBD, Dolby Laboratories, SF; Kimio Hamasaki, NHK, Japan TBD, Iosono, Germany; Stefano Lacaito, Imm Sound, Spain. Several new digital cinema formats are under active consideration for cinema soundtrack production. Each was developed to create realistic sound “motion” in parallel with 3D pictures. This workshop presents a rare opportunity for the proponents of these leading systems to discuss their specific technologies.

“We have developed an extremely diverse and comprehensive Sound For Pictures Track,” Brian McCarty says. “Our Workshop participants are all outstanding leaders in their fields. The ‘New Multi-Formats For 3D Cinema’ panel is a particularly newsworthy event. Gathering developers of competitive systems together for a high level, working dialogue is a major coup which may have important ramifications for film exhibitors.”

Sound For Pictures Track Co-Chair Steve Martz points to three related events, which will be of particular interest to Sound For Pictures Track attendees. “Academy Award-winner Ioan Allen, Sr. VP at Dolby Laboratories, will illustrate innovative audio mixing and editing techniques in his Historical Events presentation, The Egg Show: A Demonstration of the Artistic Uses of Sound on Film.

“And,” Martz adds, “Two concurrent Technical Tours should not be missed. “Roger Wiersema is coordinating a tour of the Polarity Post production complex, and Dave Nelson is hosting a concurrent tour of Outpost Studios. As both these facilities are located in the same building in SF’s popular Embarcadero District, participants will be able to attend both. This Convention promises to make a deep impact on industry thinking about sound for Digital Cinema,” Martz concludes.

The 133rd AES Convention will be held October 26-29 at SF’s Moscone Center. For details please visit www.aes.org.

Photo: AES Convention, Sound For Pictures Track Co-Chair, Brian McCarty.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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AES Launches New Project Studio Expo At 133rd Convention

Sound On Sound and Craig Anderton Collaborate on Full Program of Training Clinics to Complement Project Studio Exhibition

SAN FRANCISCO: The 133rd AES Convention will herald the introduction of the Project Studio Expo, featuring practical training and an exhibit area focused on leading edge project studio technology. Developed in partnership with Sound On Sound and Craig Anderton, the Project Studio Expo (PSE) brings the latest recording techniques, best practices, and practical tips from leaders in the recording business. “I think we can safely say this two-day event will be a highlight of the convention,” states AES Executive Director Bob Moses. “It builds on AES’s long history of leadership in the recording industry, and addresses issues of deep importance to people working in small studios. Based on early feedback from industry pros, I’m confident we have hit a home run with this event.”

Indeed, in a rare joint statement co-signed by Sound On Sound Editorial Director Dave Lockwood and Editor Paul White; Craig Anderton, Executive Editor, Electronic Musician and Editor in Chief, Harmony Central; Frank Wells, Editor, Pro Sound News and the AES Daily; Sarah Jones, Editor, Electronic Musician; Tom Kenny, Editor, Mix; Strother Bullins, Pro Audio Review; Recording Magazine Editor, Lorenz Rycher and Associate Editor Mike Metlay; and Tape Op Editor/ Founder, Larry Crane, and Publisher John Baccigaluppi, these industry leaders stated: “We strongly support AES in striking out in this new direction. We believe that in the years to come, the Project Studio Expo will continue to grow, and in the process, enhance the overall Convention.”

Scheduled for Oct. 27-28 at SF’s Moscone Center, the PSE will feature in depth Clinics and Q&A sessions with noted leaders:

DAY ONE: Saturday, Oct. 27

* It Won’t Sound Right If You Don’t Hear It Right: Studio Acoustics – Presenter, Hugh Robjohns
* Total Tracking: Get It Right At Source – Choosing & Recording Your Sound Source*- Presenter, Hugh Robjohns
* Mixing Secrets: Production Tricks To Use With Any DAW – Presenter, Mike Senior
* Master Your Tracks: DIY Results to Compete With The Pros*- Presenter, Craig Anderton
* You Ask, We Answer: Q&A session Moderator Hugh Robjohns; Panel, Paul White, Mike Senior & Guests tba
* Take Your Studio On Stage: Live Performance With Laptops, Looping Pedals & Other Studio Tech – Presenter, Craig Anderton

*Repeated on Sunday

DAY TWO: Sunday, Oct. 28

* Keeping The Human Element In The Digital Age: Ways To Keep Music Sounding Alive And Interesting – Presenter, Craig Anderton
* Total Tracking: Get it Right At Source – Choosing & Recording Your Sound Source – Presenter, Hugh Robjohns
* Mixing Secrets: Production Tricks To Use With Any DAW – Presenter, Mike Senior
* Master Your Tracks: DIY Results to Compete With The Pros – Presenter, Craig Anderton
* Make Music With Your iPad: Hot Apps, Great Gadgets & All Things IOS – Presenter, Mike Metlay
* Ask The Editors: Q&A Session – Moderator: Hugh Robjohns; Panel to include Paul White, Sarah Jones, Frank Wells, Strother Bullins, Lorenz Rychner, Larry Crane and Tom Kenny

“AES has always been the place where the recording industry came to share the latest techniques and connect with colleagues from around the world,” Bob Moses said. “In past years the business was built on a number of large studios and an entirely different workflow than today. The Project Studio Expo brings the AES into alignment with the reality of today’s industry, and addresses the latest techniques, best practices, and workflow. Anyone doing professional work in a small studio should come to listen, learn, and connect with their peers and mentors.”

The 133rd AES Convention Project Studio Expo is open to the public. Other AES Convention Technical Program events may require separate paid registration. For additional information visit: www.aes.org/ProjectStudioExpo

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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133rd AES Historical Events Track The Test Of Time

RCA Studios – Remembering Lee de Forest – Ioan Allen, Sound On Film

SAN FRANCISCO: West Coast arbiter of audio history, Bill Wray has prepared a far-ranging Historical Program for the 133rd AES Convention set for Oct. 26-29 at the Moscone Center. “The lessons of the past remain integral components of pro audio’s on-going evolution,” remarked Convention Co-Chair Jim McTigue. “Bill Wray has always approached our Conventions with an eye towards relevance as well as variety. While today’s digital tools are generations removed from their analog antecedents, our goals for efficiency and clarity remain unchanged. This year’s Historical Program will provide our attendees with an invaluable perspective on problem solving and innovative thinking.”

133rd AES Convention Historical Events Include:

The Evolution of Electrical Recording At RCA Victor Studios 1925-1953: Presenter, Nicholas Bergh, President, Endpoint Audio Labs – This must-see presentation explores early electric recording methodology by examining the technical evolution of RCA Victor Studios. Little documentation remains of this early era or of its relatively crude and often custom-built equipment: Cryptic technical notations in recording ledgers, brief comments in memoirs, rare photos, and decades of secondhand lore. Research for this presentation focused on alternative sources, e.g. Western Electric and RCA engineering reports, manuals for leased equipment, and modern tests of restored original equipment. Although these sources are not definitive, collectively, they become quite powerful. The presentation will include images of recording equipment and rare audio clips.

Lee de Forest: The Man Who Turned Science into Art: Presenter, Mike Adams, Professor, Radio, Television, and Film, San Jose State University – After de Forest received his PhD in physics and electricity from Yale in 1899, he spent the next 30 years fashioning 19th Century science into the 20th century’s popular audio media. He added sound to Marconi’s wireless telegraph to create a radiotelephone system. He added a “B” battery and earphone to Fleming’s diode vacuum tube telegraph detector to enable the detection and amplification of sound. He added a reliable synchronized sound track to Edison’s silent film, and gave birth to the talking pictures. While he didn’t profit from this innovation, his earlier invention of the three-element vacuum tube allowed amplification of audio through loudspeakers for radio and the movies, and helped create their large public audiences.

The Replay of Historical Magnetic Tape – More than Pressing the Play Button: Presenter, Nadja Wallaszkovits, Phonogrammarchiv, Austrian Academy of Sciences, Vienna – By exploring the various process challenges related to the transfer of historical magnetic audio tapes, this program will focus on the digitization of early audio collections. Issues covered include stages of preservation conditions, handling, and reproduction of important original tapes. In a related program,

Old Fables About Magnetic Recording Theory: Presenters, Jay Mcknight and Jeff McKnight – This event will highlight some meaningful developments you may have missed over the past 60 years. These include: The story of the “effective” gap length of a reproducing head. And, a correction to Westmijze’s Gap Loss Theory; Who really discovered AC Bias? How does it actually work? And, who were the 4 groups that re-discovered it circa 1940?

The Egg Show: A Demonstration of the Artistic Uses of Sound on Film: Presenter, Ioan Allen, Senior Vice President, Dolby Laboratories – With pictures of eggs ingeniously illustrating his points, and an array of 35mm clips (replete with scratchy leader and still perfect sound), Mr. Allen describes innovative mixing and editing techniques developed over the years. Attendees will see how film sound mixers highlight a conversation in a crowd scene, how they inter-cut music to film and, how they create artificial effects that sound more real on film than on live recordings. This event will be held at Dolby Laboratories’ Theater. A limited number of $10 tickets will be available exclusively to registered convention attendees at the tours counter in the main lobby at Moscone. In addition to an Oscar, and a Samuel L. Warner Award for contributions to motion picture sound, Ioan Allen has earned Scientific and Engineering Awards from the Academy of Motion Picture Arts and Sciences. An AES Fellow, and recipient of the AES Silver Medal, he spearheaded breakthrough film audio formats which have revolutionized the film sound experience.

“And, though not a historical event,” Bill Wray adds, “I strongly recommend this Scott Hull tutorial, to interested attendees. The growing resurgence of vinyl makes this previously historical subject surprisingly relevant.”

Mastering For Vinyl – Today’s Challenges: Presenter, Scott Hull, Mastering Engineer, Masterdisk – In the last few years there has been a renewed interest in producing vinyl records. What are the considerations for mixing and mastering your music for vinyl? A leading mastering engineer for nearly thirty years, Hull will dig into quality control issues and discuss ways to get great sound on your first pressing.

“We are extremely fortunate to have a genuine audio pioneer serving as our Historical Committee Chair,” said Committee co-chair Valerie Tyler. “Bill Wray is one of the most knowledgeable and enthusiastic members of our team. He is an inspiration to all of us.”

Photo: 133rd AEC Convention Historical Chair Bill Wray

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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AES Expands To China

New Beijing Section Exemplifies International Growth

BEIJING: AES Regions & Sections Chair, Peter Cook, has concluded a series of meetings in Beijing, which have resulted in the formation of the first Audio Engineering Society Section in mainland China.

Early this year, Shusen Wang, a long-time AES member, VP of a Beijing broadcasting company, and a leading professional audio consultant there, contacted Mr. Cook to explore the possibility of establishing a Beijing Section. In late May, Cook made two AES presentations to members of the China Audio and Video Association (CAVA). Following those meetings a group of over 25 Chinese AES members from Beijing and other cities, discussed a Beijing Section with Cook. Mr. Wang was unanimously invited to Chair the Section.

“The seriousness and passion demonstrated by the AES members I met with in Beijing was deeply impressive,” Peter Cook reveals. “They are fully committed to all the fundamental elements that make the AES an invaluable forum for professional audio. They enthusiastically recommended highly qualified local vice-chairs to be responsible for: Education, Research, Broadcast Applications and other areas of universal AES concern.” Cook adds, “I was genuinely taken aback when they conveyed the huge size of China’s professional audio community. This initial Beijing Section may mark the beginning of a substantial AES expansion in China. Their concerns for the importance of an AES affiliation were humbling.”

Shusen Wang applauds Cook’s recommendations, and has already begun to map out a program to incorporate them. “We will work closely with the AES parent organization to introduce Chinese experts to relevant Technical Committees; to invite them to submit research papers; to introduce Chinese stake-holders to Standards Committee chairs; and, do everything possible to ensure the success of first-time Chinese exhibitors at AES Conventions,” Mr. Wang said.

“The AES has many individual members in China. We believe our new Beijing Section will sustain a long and mutually beneficial on-going relationship with China’s professional audio community,” concludes AES executive director Bob Moses. “This move exemplifies our plan to expand the AES mission and support our ongoing effectiveness throughout Asia and The Far East.”

Pictured at a meeting of the China Audio & Video Association, bottom row center Peter Cook with Shusen Wang to his right.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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Sonnox Releases First AAX Plug-Ins

OXFORD, UK: Award winning audio plug-in developer, Sonnox has today released AAX DSP and AAX Native versions of it’s highly acclaimed Oxford EQ and Inflator plug-ins. In making the announcement, Sonnox Managing Director Rod Densham remarked, “We’re delighted to be supporting the next generation of Pro Tools users with AAX and are very optimistic about the ProTools|HDX platform. The new AAX format will undoubtedly become an established plug-in standard, just as TDM has been. The Sonnox development team has doubled in size in recent months, and is working hard to port all our remaining plug-ins to AAX as soon as possible.”

Avid’s new AAX (Avid Audio eXtension) advanced plug-in format comes in two versions: AAX DSP plug-ins compatible exclusively with Pro Tools|HDX (TDM is not supported in Pro Tools|HDX); And, AAX Native plug-ins, compatible with any system running Pro Tools/Pro Tools HD 10 software.

“Sonnox consistently sets the pace for superior-sounding, innovative processing for Pro Tools, and we are thrilled to see their portfolio coming to AAX,” comments Ed Gray, Director, Partnering Programs at Avid. “Sonnox plug-ins running on a Pro Tools|HDX system will provide a winning combination for the next generation of audio professionals. We can’t wait to see what Sonnox brings to our users next.”

For detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

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Steve Lillywhite, CBE Named 133rd AES Convention Keynote

Legendary Producer For U2, Dave Matthews Band & The Rolling Stones

SAN FRANCISCO: Early this year, the Queen of England awarded, multi-Platinum record producer Steve Lillywhite with a Commander of The British Empire (CBE) for his contributions to music. While some might consider this honor the culmination of a thirty-year career, Lillywhite promptly returned to the recording studio, where he has been busy producing new records for The Killers, Dave Matthews Band & Thirty Seconds To Mars. On Friday, October 26, Lillywhite will take another break from his studio chores to present the Keynote Address for the 133rd AES Convention at SF’s Moscone Center

“Steve Lillywhite is a Producer Of The Year Grammy-winner who has made an indelible impact on popular music,” remarked AES Convention Co-Chair, Jim McTigue. “He has collaborated with a stunning array of artists. His discography boasts a remarkable list of critically acclaimed and commercially successful projects including eight albums with U2, 4 with the Dave Matthews Band and a who’s who list representing each of the last 3 decades. The 80′s by: Peter Gabriel, The Rolling Stones, Talking Heads, The Psychedelic Furs, Siouxsie & The Banshees, The Pogues, Big Country, XTC & The Smiths – The 90′s by: David Byrne, Morrissey, Travis, Dave Matthews Band & Phish and the past decade with: The Counting Crows, Matchbox Twenty, Thirty Seconds To Mars & The Killers.

“He has made an indelible impact on contemporary music and he continues to hone the razor edge with major new projects. His insights, into the art of producing and engineering, coupled with his perspective on the impact of technology shifts and changes in recording styles, promises to provide AES attendees with inspiration, enlightenment and, unforgettable anecdotes,” McTigue says.

Born in the UK in 1955, Lillywhite began his career as a tape operator for Polygram in 1972.

“We are delighted to have Steve Lillywhite address our attendees,” Co-Chair Valerie Tyler concludes. “His work is as relevant and innovative today as it was at the beginning of his career. His Keynote Address marks an auspicious beginning for what is shaping up to be an exceptional Convention.”

The 133rd AES Convention will be held at SF’s Moscone Center Oct. 26-29, 2012. For more details please visit: http://www.aes.org

Photo: Producer of The Year Grammy-winner, Steve Lillywhite will present the Keynote address for the 133rd AES Convention on Friday, Oct. 26, 2012

To listen to a selected Steve Lillywhite discography please visit: http://soundcloud.com/barquemgmt/sets/steve-lillywhite

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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AES 133rd Convention Committee Readies World-Class Show For Moscone Center – Oct. 26 – 29

New Tracks – Must See Special Events

SAN FRANCISCO: Let the buzz begin… Deep into preparation for an extraordinary 133rd AES Convention, the planning committee began meeting in January to develop innovative new programs for the event set for Oct. 26-29 at SF’s Moscone Center. Veteran co-chairs Valerie Tyler and Jim McTigue recruited a stellar collaborative team, mixing seasoned convention pros with enthusiastic new Chairs to insure a, highly relevant Convention. “Our objective is to infuse our events with meaningful tracks that anticipate and inform shifting industry trends,” Tyler says. “As San Francisco remains a bastion of innovative thinking, we are well-positioned to keep ahead of the curve.”

“Highlighting these new track introductions is a Project Studio Expo with a two-day series of clinics on best practices, and techniques on all aspects of creating and operating a small studio. They’ve invested in this gear, we want to help them take full advantage of it.” Jim McTigue states. “This year’s Convention will also see the introduction of two new tracks. Nathan Brock will chair the Networked Audio Track, and Brian McCarty will Chair the Sound For Pictures Track. Additionally,” McTigue adds, “we have confirmed a notable Keynote Speaker TBA soon.”

The Convention will also feature a remodeled Student Product Design Competition, which will tap into student’s unlimited capacity for ‘blue-sky’ thinking. Education Committee co-chairs John Krivit and Ezequiel Morfi and advisor Scott Dorsey anticipate a wealth of revolutionary ideas.
“The Committee is mounting a variety of events which will be hard to miss,” reports AES executive director Bob Moses. “On top of that list is a rare screening of The Wrecking Crew. This highly anticipated documentary about the studio musicians who played on countless Gold & Platinum hits has been withheld from distribution due to complex performance rights issues. Technical Tours Chair Jessica Livingston has secured an AES screening of the film. It promises to be a very hot ticket.”

Moses regards these special events as prime examples of the enduring need for ‘on-site conventions.’ “During the first six months of my Executive Directorship I’ve spoken with hundreds of exhibitors, educators, attendees, event developers and participants,” he says. “Virtually every one of them has emphasized the value of the ‘human connection.’ Social media remains a vital and constantly growing part of our messaging effort. But, the opportunity for face-to-face networking remains indisputable. On site conventions will continue to play an integral role in the AES mandate to help our attendees ‘Listen, Learn and Connect.’”

The 133rd AES Convention Committee boasts an all star-line up analogous to the famed Wrecking Crew. The key difference is Convention Committee members are volunteers! Co-Chairs Jim McTigue and Valerie Tyler are pooling their time and energy with: Broadcast/Streaming Chair, David Bialik; Education Co-Chairs, John Krivit and Ezequiel Morfi; Facilities Chair, Bob Megantz; Game Audio Chair, Steve Martz; Historical Chair, Bill Wray; Live Sound Chair, Michael “Bink” Knowles; Master Classes/Tutorials Co-Chairs, Mike Wells and Jose “Vene” Garcia; Networked Audio Chair, Nathan Brock; Papers Co-Chairs, Veronique Larcher & Alan Seefeldt; Product Design Chair, Conrad Cooke; Sound For Pictures Chair, Brian McCarty; Special Events Chair, Christopher Smith; Tech Tours Chair, Jessica Livingston; Volunteers Co-Chairs, Evan Peebles and Michael McConnell and, Workshops Co-Chairs, David Bowles and Jeffrey McKnight. AES Executive Director Bob Moses; Deputy Director, Roger Furness; Director, Convention Management, Chris Plunkett; Business Development Manager, Steven Green; and Chief Information Officer, Steve Johnson continue to provide exceptional organizational support to the complex effort.

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Pictured (l-r) Even Peebles, Alan Seefeldt, Chris Plunkett, Veronique Larcher, Jessica Livingston, Jeffrey McKnight, Valerie Tyler, Christopher Smith, David Bowles, Bill Wray, Michael Knowles, Jim McTigue, Steven Green, Roger Furness, (A/V consultant) Dave Molnar, Bob Moses and Bob Megantz. Not pictured: David Bialik, John Krivit, Ezequiel Morfi, Steve Martz, Mike Wells, Jose Garcia, Nathan Brock, Brian McCarty, Conrad Cooke, Michael McConnell

The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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AES Announces Student Design Competition

Blue Ribbon Panel To Select Winning Innovations At 133rd Convention Oct. 26 – 29

SAN FRANCISCO: Aspiring student engineers from around the globe will vie for the opportunity to jumpstart their careers at the Audio Engineering Society’s 133rd Convention at SF’s Moscone Center, Oct. 26-29. A blue-ribbon panel of pro audio manufacturers, product designers and end users will review innovative Student Design Competition hardware and software designs in search of the most audacious, innovative and useful new product ideas.

“Student new product entries have always been integral components of AES Conventions, reports Committee Education Co-Chair John Krivit. “We are making a special effort this year to raise the bar. The deadline for submissions is October 1, 2012. Students will have the entire summer to conceive, develop and refine their dream products. Prizes will be awarded at the AES Convention on October 28 Students must attend the Convention to be considered for the finals.”

All students will have the opportunity to display their projects at the Convention’s tabletop exhibition. Entrants must register as students for the full Convention technical program, but AES membership is not required for entry submission. For a complete list of AES Student Design Competition rules and deadlines visit: http://bit.ly/PzG7tz. For additional questions regarding the competition please contact: Colin Pfund at colin@aes-sda.org.

With over 14,000 members worldwide, the AES is the largest international group of audio professionals. The advancement of professional audio education is a continuing AES focus. Many leading colleges, universities and leading technology schools maintain active AES Student Sections. Annual U.S. Conventions alternate between East and West Coasts. These events attract Gold, Platinum and Grammy Award-winning engineers, producers and artists, along with leading manufacturers from around the world. For details on the upcoming Convention please visit: www.aes.org

Photo: 133rd AES Convention Education Committee Co-Chair John Krivit

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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TYLER & MC TIGUE – 133rd AES CONVENTION CO-CHAIRS ON TRACK FOR A BLOCKBUSTER EVENT


SAN FRANCISCO: Co-Chairing an AES Convention takes technical and interpersonal skills, an ability to juggle an infinite stream of details, an aptitude for delegating AND, the capacity for keeping a close eye on your day job. Clearly gifted with these indispensable talents, AES 133rd Convention Co-Chairs Valerie Tyler and Jim McTigue have returned to the scene of their 2010 success. Plans are well underway for the Convention set for October 26-29 at SF’s Moscone Center.

Both Tyler and McTigue take great pride in their contributions to this gargantuan undertaking. Like all the volunteer Chairs, they share a deep sense of accomplishment in producing what appears to attendees and exhibitors to be an effortless, efficient and smoothly running ‘clockwork’ event. Their goal is to perpetuate that ‘never let ‘em see you sweat’ cliché.

Since joining the AES in 1993,Valerie Tyler has served in a variety of Convention committee positions including Workshops, Special Events, Tutorials & Master Classes. Her extensive academic career includes music studies at UC Santa Cruz, music/recording industry studies at San Francisco State University, and electronic music, digital audio, digital video, web design, and graphic design studies at College of San Mateo where she currently holds the position of Webmaster. Tyler has also served as an audio editor and as a freelance live sound engineer.

A 35-year+ veteran of the acoustics, broadcast, and professional audio industry, Jim McTigue began his career at NY’s legendary A&R Recording Studios. He has served in technology and management roles for such leading firms as Altec Lansing, API, Broadcast Technology, Euphonix, Radix Systems and Chief Engineer at NY’s famed Sigma Sound Studios. McTigue is currently director, Audio Hardware Development for Avid Technology. His broad education includes engineering degrees from the Polytechnic Institute of NYU and the University of Oklahoma. In addition to Co-Chairing his 2nd consecutive AES SF Convention, he is currently serving on the AES SF Section Committee.

“Our Committee Chairs devote a vast amount of time and energy to AES Conventions,” says Executive Director, Bob Moses. ” In doing so they earn the respect and appreciation of their peers and the knowledge that they are performing an invaluable service for the industry. We are all indebted to Jim McTigue and Valerie Tyler for their extraordinary contribution to this massive venture. We are confident that they and their Co-Chairs are creating an unforgettable Convention experience.”

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Pictured: AES 133rd Convention Co-Chairs Jim McTigue and Valerie Tyler

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WSDG Begins 16th Art Institute Audio Teaching Studio

4-Year Building Program Creates Nation’s Largest Audio Education Network

NEW YORK: An intensive 4-year design/construction program by the Walters-Storyk Design Group has produced sixteen professional audio education studios for The Art Institutes’ educational institutions across the U.S. Developed to train students for jobs in the rapidly expanding sphere of high tech audio-related occupations, the studios provide cutting edge instruction in both theory and hands-on production techniques. The Art Institute of Michigan (Detroit) complex is currently under construction.

WSDG Partner/Senior Project Manager Romina Larregina has spearheaded the program since its inception. Working closely with company principal/architect/ acoustician John Storyk she has supervised each construction project to insure the highest level of pro audio educational professionalism. “John Storyk’s commitment to education was a primary catalyst behind The Art Institutes decision to retain WSDG for this major assignment,” Larregina says. “His extensive lecturing background, coupled with our 40-year + history of creating world-class studios for artists ranging from Jimi Hendrix to Alicia Keys and Bruce Springsteen, made us an obvious choice for this expansive, on-going project.”

“Each WSDG- IA studio was custom designed to meet specific aesthetic and logistic requirements,” Larregina reports. “Room and class size, technology selection, acoustics, a myriad of related issues dictated our design considerations. These are not ‘cookie cutter’ installations,” she emphasized. “They are designed to address every aspect of pro audio training, including digital and analogue technology.”

“Professional audio education has undergone a seismic shift over the past few years,” John Storyk remarked. “The traditional mega studio paradigm has evolved to a new generation of compact, powerful ‘vest-pocket’ and personal facilities which maximize the potential of affordable laptop-based recording and mixing technology. Concurrently, the new job category has flourished,” Storyk adds. “While traditional positions such as mixing, mastering and FOH engineering may have diminished; audio pros are now flourishing in such diverse occupations as perceptual audio coding, streaming, virtual acoustics, and forensic audio reconstruction. These new AI studios and their faculties are positioned to populate the mushrooming pro audio job market with highly trained and motivated candidates. WSDG is proud to have been associated with AI’s expansion.”

WSDG has created AI studios in Washington, DC, Nashville, Austin, Houston, Las Vegas, Miami, Philadelphia, Shaumburg (Illinois), San Francisco, Los Angeles, San Diego, Inland Empire (CA), Chicago, Austin, Minneapolis and now Detroit.

“We are expanding our professional audio production curriculum in recognition of the new job opportunities in a field far wider than traditional music recording and live sound mixing,” states John Mazzoni, president of The Arts Institutes. “Video game design and production; corporate, governmental, industrial, educational, broadcast and many other sectors rely on skilled professionals to produce high-quality audio content for a variety of creative, entertainment, and messaging purposes. Innovative applications ranging from audio forensics to ringtone production are expanding exponentially. Jobs exist now and entire new categories are emerging. We are committed to training our students to serve as valuable assets to these potential employers.”

In recent years, WSDG has created a number of large-scale audio education facilities. These include: NYU’s $6.5 million Steinhardt Center Music Technology Complex in NYC, teaching studios for the University of Colorado (Boulder) and the University of Michigan (Ann Arbor).

WSDG is currently engaged in the largest and most ambitious audio education project in their 40+-year history. Teaching studios for two massive Berklee College of Music campuses: An ultra-modern complex in Valencia, Spain is rapidly approaching completion. And, a 22,000 sq. ft. audio facility for Berklee’s new $100 million, 16 story multi-purpose building is currently under construction at 160 Massachusetts Avenue, at the heart of the college campus.

Photos: 1. AI Chicago teaching studio control room designed by WSDG
2. AI Chicago teaching studio live room designed by WSDG

###

Walters-Storyk Design Group has designed over 3000 media production facilities in the U.S., Europe, the Far East and Latin America. WSDG credits range from the original Jimi Hendrix Electric Lady Studio in Greenwich Village to NYC’s Jazz At Lincoln Center performance complex, broadcast facilities for The Food Network, CBS and WNET, over twenty teaching studios for The Art Institutes around the US, and corporate clients such as Hoffman La Roche. Recent credits include Jungle City, NY’s major new destination studio; private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composer Carter Burwell, Aerosmith, Bruce Springsteen and Alicia Keys. WSDG principals John Storyk, Beth Walters, and Dirk Noy lecture frequently at universities and industry events, and contribute regularly to industry publications. WSDG is a seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including 2012 for Jungle City. WSDG maintains offices in NY, SF, Miami, Argentina, Brazil, Beijing, Germany, Mexico City, Spain and Switzerland.

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