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Archive by Howard Sherman

Sonnox Posts ‘Pro-Codec Explained’

In-Depth Tutorial Created By Groove 3

OXFORD, UK “Sonnox Pro-Codec Explained,” a comprehensive, tutorial on the innovative Sonnox Fraunhofer Plug-in, has been produced by Groove 3, a leading provider of training and tutorial videos.

At ninety minutes, the tutorial is the most comprehensive and highly detailed training program on the Pro-Codec ever produced. Three full-length episodes: “Intro,” 8:27,
“Which Codec To Use,” 8:09, and a 12-minute “Overview,” have been culled from the tutorial series. Click here to view them at no charge. The full tutorial series is available from Groove 3 at 50% off the regular $25.00 (£15.929) price with promo code: sonnox50. This offer ends on August 31st.

Introduced in January 2011, the Sonnox Fraunhofer Pro-Codec has garnered rave reviews from users and press for its revolutionary ability to enable auditioning, encoding and decoding of audio in real-time. Mixes can be optimized towards specific target codecs, and encoded to multiple distribution formats with a host DAW environment.

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

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“Wrecking Crew” Documentary Highlights 133rd AES Convention Special Events

SAN FRANCISCO: With more Gold and Platinum credits than The Beatles, The Rolling Stones, Elvis and Elton combined, “The Wrecking Crew,” is the most storied, yet anonymous group in recording history. Session players behind hit records for superstars ranging from The Beach Boys to Sinatra, Jan & Dean, The Mamas & The Papas, Simon & Garfunkel, The Byrds… And ‘The King himself,’ this mythic amalgam of obscure artists is now the subject of an almost impossible to find documentary. AES Convention Special Events Christopher Smith has coordinated a rare screening of this elusive film for the 133rd AES Convention, which will be held in SF’s Moscone Center October 26-29.

“Although gargantuan music licensing fees temporarily preclude wide distribution for ‘The Wrecking Crew,’ numerous international Film Festival screenings have created a compelling ‘must see this’ buzz for it,” explains AES Convention Committee Co-Chair Jim McTigue. “We are extremely fortunate to have arranged a special screening for our 133rd Convention Attendees. In fact, we may want to add a word to our ‘Listen… Learn… Connect…’ AES mandate. I suggest ‘Enjoy…’”

Produced and directed by Denny Tedesco, son of legendary, late Wrecking Crew guitarist Tommy Tedesco, the film features interviews with Brian Wilson, Cher, Roger McGuinn, and many Wrecking Crew members, including Glen Campbell, a durable superstar, in his own right. Christopher Smith reports that Tedesco will hold a Q&A (with special guests) following the screening.

Also highlighting the 133rd AES Convention Special Events Program is:

GRAHAM BLYTH ORGAN CONCERT: On Friday, Oct. 29th from 8:00 until 9:00PM, SF’s historic, 160-year-old St. Marks Church will provide the indelible acoustic setting for a performance by perennial AES Convention favorite, Graham Blyth. An internationally recognized Organist and accomplished professional audio equipment designer, Blyth has performed at AES Conventions around the world since 1993.

Photos:

1. Beach Boy Brian Wilson with Wrecking Crew drummer Hal Blaine
2. Wrecking Crew guitarists Tommy Tedesco and Carol Kay 3. Wrecking Crew Documentary Logo

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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 Convention Product Design Track Breaks New Ground

Enhancing Acoustically Challenged Devices – Processor Agnostic Systems -
Audio For iPad Publishers

SAN FRANCISCO: “133rd AES Convention Product Design Track Chair Conrad Cooke has developed a groundbreaking combination of razor edge Tutorials, Workshops and Master Class Events,” states Convention Co-Chair Jim McTigue. “This Track is designed to provide deep insights into emerging technology which is expected to have a lasting impact on the field of pro audio.”

“My goal was to ferret out the most relevant issues facing today’s product designers,” Conrad Cooke said. “I uncovered a wealth of knowledge, and selected thirteen presentations which present techniques to help solve some of those common issues. We are confident that attendees will come away with invaluable information that will greatly benefit their future thinking.”

133rd AES Convention Product Design Track Events Include:

A Next Generation Audio Processing Suite For The Enhancement of Acoustically Challenged Devices: Presenter, Alan Seefeldt, Dolby Laboratories – A commercial audio processing suite has been developed to enhance the sound of acoustically challenged devices such as laptops, tablets, and mobile phones. This tutorial will address the design principles and algorithms developed for the suite. Each example was designed to operate within a common frequency domain framework. Several of these algorithms were tuned specifically for the acoustics of the device on which they operate.

Implementing Application Processor Agnostic Audio Systems For Portable Consumer Applications: Presenter, Jess Brown, Wolfson Microelectronics. – This tutorial will outline future audio trends for portable consumer devices. Areas covered include: HD audio voice, capture, playback and share. The total ‘mouth to ear’ audio solution will be reviewed, from both the technology and device perspectives.

Don’t Make Your Product a Noise Nightmare: William Whitlock, President/Chief Engineer, Jensen Transformers – Audio systems that operate on AC power experience interference in the form of ground voltage differences, magnetic fields, and electric fields. Establishing high immunity in real world, mass-produced equipment is not a trivial issue. This Master Class will probe the critical importance of high common-mode impedances; the disadvantages of legacy test methods; the new IEC test for CMRR; alternatives to ordinary input stages and ubiquitous design errors.

Audio For iPad Publishers: Jeff Essex, AudioSyncrasy – Book publishers are running to the iPad, and not just for iBooks, or one-off apps. This tutorial consists of two case studies which explore how to build audio creation and content management systems to produce multiple apps in high-volume environments, including VO production, concatenation schemes, file-naming conventions, audio file types for iOS, and, helping book publishers transition from the printed page to interactive publishing.

Audio In HTML 5: Jeff Essex, AudioSyncrasy, Jory K. Prum, studio.jory.org – HTML 5 is coming. Many expect it to supplant Flash as an online rich media player, as Apple has made abundantly clear. But audio support is slow in coming, and there are currently marked differences between browsers. From an audio content standpoint, it’s the Nineties all over again. The W3C’s Audio Working Group is developing standards, but this is a fast-moving target. This talk will provide an update on what’s working, what isn’t.

Multimedia Device Audio Architecture: Laurent Le Faucheur, Texas Instruments – This tutorial investigates a low cost, hardware audio architecture that solves several mobile low power multimedia application processor constraints related to: Legacy software reuse, signal processing performance, power optimization, multiple data format interfaces, and low latency voice and tones.

Audio DSP Requirements For Tomorrow’s Mobile & Portable Devices: John Richards, Oxford Digital Limited: Presenters: Peter Eastty ( Oxford Digital), Howard Brown (IDT), Bob Adams (ADI), Alan Kramer (SRS Labs), Julia Backman (Nokia), Cyril Martin (RIM) – As the convergence of communications, entertainment and computing races ahead, largely centered on portable and mobile devices where form factors are shrinking and style wins out over practicality of design in some instances, the challenges in delivering the audio DSP to provide good sound and differentiated effects are discussed by a panel of experts representing semiconductor manufacturers, mobile/portable device manufacturers and DSP IP providers.

Other Product Design Track Presentations Include:

* Ethernet Standard Audio: Steve Lampen, Belden
* Rub & Buzz and Other Irregular Loudspeaker Distortion: Wolfgang Klippel
* An Overview of Audio System Grounding and Interfacing: William Whitlock, Jensen Transformers
* AVB Networking For Product Designers: Rob Silfvast, Avid
* Graphical Audio/DSP Applications Development Environment For Fixed And Floating Point Processors: Miguel Chavez, Analog Devices

Scheduled for October 26 – 29 at SF’s Moscone Center, the Convention is expected to draw thousands of attendees from around the globe to its 4-day program of Broadcast/ Streaming, Educational, Live Sound and other Special Events.

Photo: Conrad Cooke, 133rd AES Convention Product Design Track Chair

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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 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.

###

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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