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Archive by Howard Sherman

TPI Clears The Air (Space) With WSDG Expansion

DC-Area Complex Alleviates Dulles Flight Path Noise

CHANTILLY, VA. One of the largest TV production/post-production facilities in the Washington DC area, TeleProductions, Inc. (TPI) has produced and distributed TV programming for international broadcast, cable, satellite and new media audiences for over thirty years. Now headquartered in a new building directly beneath the Dulles Airport flight path, TPI has completed significant upgrades enabling them to branch out into new production opportunities. These include an expansive new music production live room, shared by two spacious control rooms, and a 1,750 square foot shooting stage with a dedicated audio control room. They also required an acoustic treatment program to alleviate persistent airport-related noise. To address all these issues, TPI called NY-based Walters-Storyk Design Group.

WSDG partner/project manager Joshua Morris reports that the design plan included a central machine room (CMR), several edit rooms for post-production work, a production suite comprised of a studio, control room and an isolation booth and two self-contained edit suites for external clients. WSDG also developed a spacious conference room and a small 30-seat screening room, which included a surround system and speaker wall.

“The most significant issue we faced during the design process was TPI’s proximity to the Dulles Airport flight path,” Morris says. “Acoustic isolation had to be maintained across the entire frequency spectrum, but specifically low frequencies. Fortunately, in addition to our standard isolated ceiling lid, the building’s 24 ft. ceiling height was more than adequate for a second ‘non-isolated’ lid, thereby increasing the isolation and achieving our target quietness level. This second lid also functions as a mechanical mezzanine enabling workers to access ductwork and equipment as needed. The implementation of these design elements enabled us to virtually eliminate air traffic noise interference from TPI’s production/post-production complex,” Morris explains.

Because TPI operators typically work standing up in studio control rooms, WSDG designed an elevated platform system enabling the consoles to be installed at this appropriate height. WSDG also developed a raised access floor system to ensure easy access to the extensive AV cables that run through the facility. This solution not only served to facilitate access, but also helped reroute AV cables from interference inducing power cables. Moreover, it eased construction coordination, as empty conduits were not required to share mechanical or lighting equipment space.

WSDG worked closely with local architect Sal Poulton of Gileau-Poulton Architects in Woodbridge, VA.

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Photos: 1. TPI Shooting Stage with isolated acoustic lid
2. TPI floor plan.

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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AES Names Steve Green Business Development Manager

New Job Title Reflects Organizational Evolution

NEW YORK: Recognizing the importance of engaging directly with its stakeholders, Executive Director Bob Moses has named Steve Green AES Business Development Manager. An accomplished audio systems and applications engineer, and skilled technical marketing manager, Green will focus his energies on expanding the AES constituency and maximizing the value of its many assets and services.

“I’ve known Steve Green over twenty years,” Moses said. “I was his customer for more than half of them, and I learned that I could go to Steve whenever I needed an honest answer to a question, or help getting my project out the door. I want that experience for all AES members, exhibitors and attendees. His mission is simple – talk to people and find out how we can make AES better. Then, as we used to say in the manufacturing business, ship it.”

Sharing his thoughts for his new position, Green remarked, “As an AES member for over 30 years, I have a personal interest in the continued success of the organization. My primary goal is to increase the value of the AES for the individuals, companies and educational organizations within the audio community. One of the unique attributes of the AES is the incredible diversity in the interests and focus areas of our members. Facilitating the exchange of ideas and knowledge both within and between these groups is something that only the AES is in a position to provide. I look forward to meeting with many old friends and to building many new relationships on my new journey.”

Steve Green has worked for the past 20+ years with integrated circuit manufacturers focused on audio products, primarily with Crystal Semiconductor/Cirrus Logic. He has held various positions including Applications Engineer, Applications Manager and Technical Marketing Manager. In November 2010 he was awarded an AES Fellowship, “In recognition of two decades of valuable contributions to mixed-signal audio design and implementation.”

Photo: Steve Green has been named AES Business Development Manager

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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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“MEN IN BLACK 3″ LOOKS TO SIXTEEN19 FOR EDITORIAL SUPPORT

NEW YORK: Looming as the first summer 2012 blockbuster, Barry Sonnenfeld’s Men In Black 3 spent considerable location time in New York last summer, with a rigorous production schedule supported by NY’s Sixteen19. “This was an extremely buttoned down project,” reports managing director Claire Shanley. “Everyone on MIB3 was at the top of their game, and we were committed to insuring total reliability for every piece of gear.”

“After kicking off the editorial process in Manhattan during the shoot, we shifted to East Hampton in July,” reports post production supervisor Paul Levin. Working thousands of miles away from Los Angeles, expert technical support and workflow oversight were critical. “I’ve worked with Sixteen19 on a number of major projects in the past, and I knew we could count on them both to provide dependable systems and to see us through any unanticipated problem. Sixteen19 exceeded our expectations.” Beyond its offices in NY, LA, London, and New Orleans, Sixteen19 specializes in providing high-level service to large productions outside of these hubs and supporting them in their work around the world.

First assistant editor Jason Solberg reports that when a glitch in the Avid Unity was discovered during a tech run-through on Sunday, July 3rd, “Sixteen19 director of technical services Travis Boyer worked deep into the night to resolve the problem. By Tuesday morning after the holiday, we were totally on track. I know Paul (Levin) had great experiences with them in the past, and I’d recommend them for my upcoming projects. You need to be absolutely confident your gear will work, and that you’ve got a reliable support team at your back,” he says. “MIB3 produced almost 1/2 a million feet of film, as well as digital footage acquired on Arri Alexa. Barry doesn’t do a lot of takes, but this feature has a tremendous amount of action. The feedback we’ve been getting from early screenings have ‘winner’ written all over them,” he adds.

Paul Levin notes that the audio layback and color correction services Sixteen19 provided in LA to prep MIB3 for screenings worked flawlessly. “Barry was particularly impressed with Sixteen19′s colorist, Steve Beganyi. He was a total pro and absolutely delivered for us.”

Sixteen19′s MIB3 technical package included: five dual-boot Avid Media Composers running v. 5.5.9.3 and v. 4.0.5.13, linked to a 32 terabyte Avid Unity running v. 5.1.3 Each system incorporated a 50″ Panasonic Pro 20 Series monitor, two 27″ Apple Cinema displays and a 27″ JVC studio monitor. Sixteen19 also ran a line from the VFX station to Barry Sonnenfeld’s East Hampton theater to enable screening onsite.

“MIB3 was a terrific opportunity to showcase our broad production support capabilities,” Claire Shanley concludes. “We appreciate Paul Levin bringing us on board, and look forward to working with Paul, Barry, and their team on future projects.”

Photo: “Men In Black 3″ First assistant editor Jason Solberg in East Hampton at a Sixteen19 Avid Media Composer.

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans; L.A. and London. In addition to production and development, the firm specializes in DI, color correction, editing and finishing and on & near set services. The NYC complex features 15 spacious Avid editing suites, color correct theater/ screening rooms, digital dailies, file transcode/encode and workflow management. Contact: 212-245-1402 http://www.sixteen19.com

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AES 132nd Convention A Hit In Budapest

Mercedes-Benz Signature Sound Audio & John Buckman Keynote Highlight Show

BUDAPEST: With over 100 paper, workshop, tutorial and networking events, 11 exhibitors and 805 attendees, the 132nd AES Convention was the most intimate yet intensive gathering in the organization’s 64-year history. Participant response to the event and, to the host city, was uniformly positive.

“Budapest exceeded our expectations as a distinctive site for our 2012 European convention,” stated AES Executive Director Bob Moses. “We attracted a number of eastern European audio professionals who had not previously had the opportunity to participate in an AES event. The feedback we received from them as well as from our traditional AES European Convention attendees was extremely positive.”

The convention was highlighted by the first surround recording, specifically mixed and mastered for the exotic new Mercedes SL Roadster. Presented by a blue-ribbon panel which included Leslie Ann Jones of Skywalker Sound, Mario Fresner of Daimler AG, Stefan Bock, msm-studios GmbH, Norbert Niemczyk, Daimler AG, Wieslaw Woszczyk of McGill University, and moderator Herbert Waltl of LA’s mediaHYPERIUM, the event demonstrated the “ultimate surround sound car listening experience.” Technical issues behind its development were discussed at length.

Keynote speaker John Buckman, a leading online label entrepreneur and Chairman of the Electronic Frontier Foundation (EFF), provided deep insights into developing successful 21st century progressive music business models. Presentations spanning subjects from Smartphone technology to Virtual Microphones and the Beach Boys’ “Smile” sessions offered attendees invaluable insights, career tips and social networking opportunities.

Moses reports the quality of the research papers was particularly high thanks in part to a newly instituted Convention paper review process. “The turnout for Workshops and Tutorials was particularly strong,” he adds, “The rooms were packed and, while the exhibition was smaller than we had hoped, we deeply appreciate the support of Audiomonde, Auro Technologies, Charteroak, Crane Song, Delta Senselab, Linear Audio, Microtech Gefell, Neutrik, Profusion and Roland Systems Group East Europe. Our post-show conversations with them clearly substantiate their palpable sense of having made the right judgment call in being with us. “The 132nd Convention clearly confirms the importance of continuing the AES European show. We are already in the planning stages for our next event, and will be incorporating changes our stakeholders are requesting to add value and ensure its long term success” Moses concludes.

Commenting on his reaction to the 132nd Convention, David Josephson of Josephson Engineering who shared a booth with Crane Song, AEA and Hitspace remarked, “The show was really worthwhile. We saw a lot of students and pro users. The technical sessions seemed stronger and better attended than the last London show. We went because it was the first time we could reach out to buyers in Eastern Europe. The opportunity for seeing significant people is absolutely worth attending an event like this.”

Photos: 1. 132nd AES Convention Opening Day Registration
2.132nd AES Convention Workshop
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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With 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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Vivace Music Brings World Class WSDG Studio To Uruguay

<img src="http://blog.svconline.com/briefingroom/wp-content/uploads/2012/05/2-Vivace-Studios-Live-Room-lr-300×200.jpg" alt="" width="300" height="200" class="alignnone size-medium wp-image-29662" MONTEVIDEO, URUGUAY: Vivace Music, an elegant, high-end recording studio, has debuted in the heart of Montevideo, the 1/4Switzerland1/4 of Latin America. Acoustically superb, and aesthetically unique, studio details are highlighted by rare wood elements such as doors, window trim, flooring and custom furniture built with recycled wood acquired from ancient wooden casks originally used for the leather tanning industry, (one the multiple activities of studio co-owner Luis Cesio).

Designed to accommodate the full spectrum of Latin, jazz, pop, rock and world music production, Vivace establishes a new standard of high-quality audio production for South America. The 1000 sq. ft. complex features a 450 sq. ft. live room outfitted with variable acoustics and shared by two comfortable control rooms, each with it's own Iso Booth. Control Room A is equipped with an SSL AWS948 – 48 channel console, Pro Tools HD – 48 channels, Stereo ATC SCM 150A Surround and Genelec 8050 /7070 monitors. Control B features Command 8 Control surface, Pro Tools HD. and Surround JBL LSR6325 monitoring. The studio also offers a substantial collection of outboard gear including preamps and compressors (API, AVALON, Manley, Empirical Labs, Neve, Teletronics, etc), and numerous vintage mics and instruments.

"The acoustic qualities and isolation developed by WSDG enable us to work at any sound level without concern for extraneous noise entering the studio or leaking out to our neighbors," explain Studio co-founder/partners Cesar Lamschtein and Louis Cesio. WSDG Latin director Sergio Molho, developed a turn-key design and build program which engaged local talent for technical and specialty item finishes, and, an experienced studio construction crew to insure critical isolation. Grammy-winning engineer/WSDG Brasil partner/GM, Renato Cipriano, coordinated final tuning and certification of the ATC monitoring systems.

Photo 1. Vivace Music Control A
Photo 2. Vivace Music Live Room

Photos by Silvia Campos Ulloa

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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, Bejing, Germany, Mexico City, Spain and Switzerland.

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SIXTEEN19 EDITOR CORTESE WINS THREE SPORTS EMMY AWARDS

NEW YORK: Sixteen19 editor Anthony Cortese (pictured) won three Emmys at the 33rd Annual Sports Emmy Awards, presented April 30th by the National Academy of Television Arts and Sciences.

Cortese’s work for the Showtime / CBS Sports documentary, A Game of Honor was recognized in the Best Documentary, Best Trailer, and Best Web Series categories. The highly rated, critically acclaimed, two-hour documentary provided a stirring and insightful behind-the-scenes look at the teams preparations for the classic 2011 Army-Navy Game.

Cortese’s award collection already includes two previous EMMYS presented in the Associate Producer category. Sixteen19 is a leading post-production services company with offices in NYC and divisions in New Orleans, L.A. and London.

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans; L.A. and London. The firm specializes in DI, color correction, editing and finishing and on & near set services. The NYC complex features 15 spacious Avid editing suites, color correct theater/ screening rooms, digital dailies, file transcode/encode and workflow management. Contact: 212-245-1402 http://www.sixteen19.com

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Berklee College Commissions WSDG For Major Projects

Berklee 160 Mass WSDG – Presentation Drawing – Level B1Berkley Valencia floor planConcurrent Work On Two Continents: Boston, Mass. & Valencia, Spain

NEW YORK: In a patent message of confidence in education and the inherent strengths of the world economy, the Berklee College of Music has embarked on a significant expansion program. In Valencia, Spain, an entirely new campus opened in January, 2012. In Boston, the first ground-up building in Berklee’s 66-year history, 160 Massachusetts Avenue, a 16-story, $100 million structure, began construction in December 2011. While U.S. and Spanish architects were engaged to create strikingly disparate footprints for each of these bold projects, a single internationally recognized studio design and acoustical consultancy, the Walters-Storyk Design Group, was commissioned to create the audio education studios for both these learning complexes.

“We have a long-standing relationship with WSDG, and with architect/acoustician John Storyk who designed Electric Lady Studios for Jimi Hendrix among many world-class studios all over the world,” Berklee president Roger H. Brown remarked. “In addition to designing a number of teaching studios and media rooms for our Boston campus, Mr. Storyk is a visiting professor for our MP&E Department. He developed Berklee’s signature studio design course and also lectures frequently to our music production and engineering students. Both 160 Mass. and our Valencia campus required exemplary creative and technical standards. We have every confidence in WSDG’s ability to exceed our expectations.”

Celebrated Spanish architect, Santiago Calatrava’s ultramodern Valencia Campus personifies Berklee’s total commitment to the future. WSDG partner/senior project manager, Romina Larregina, reports the sprawling 18,000 sq. ft. East Technical Wing features a 1360 sq. ft. recording studio which includes an 850 sq. ft. live room; four project/production studios ranging in size from 135 to 200 sq. feet; and multiple classroom/tech support environments “Berklee Valencia sets a new standard for European audio education and signal a new level of achievement for WSDG,” Larregina says. The firm’s 40+ years of designing professional recording environments and educational facilities includes such major schools as: NYU, the Universities of Colorado and Michigan and The Vatican’s new Javeriana University, in Bogota, Columbia.

Designed by William Rawn Associates (Boston), Berklee’s new 155,000 square-foot 160 Massachusetts Ave. tower will house eight WSDG recording studios, including a live room scaled to host a 60-piece orchestra. Scheduled for completion for the fall 2013 semester, the complex encompasses technical suites, classrooms, a film dubbing theater and, a unique, three-story 4000 square foot, 400-seat, dual purpose, auditorium/dining hall with a dramatic two-story glass wall facing Massachusetts Avenue.

“We are investing everything we have learned about acoustic excellence and educational prerequisites in these important assignments,” says Larregina, who is serving asWSDG PM on both projects. “In addition to maintaining close contact with local contractors, systems integrators and our offices in Brazil, Argentina, Barcelona and Switzerland, I made regular site visits to Valencia and continue to personally monitor the progress in Boston.

“Our international team is collaborating on every facet of these projects,” Larregina adds. “We have developed methods of pooling our mutual skill sets in technical drawing, systems integration, HVAC, room isolation, acoustical treatments, and the myriad related issues. We are particularly fortunate to have been engaged at the planning stage, as this enables us to anticipate and eliminate potential acoustic problems rather than having to devise ‘fixes,’ after the walls, floors and ceilings are in place.”

“Commissions on the scale of Berklee’s Boston and Valencia projects are rare in today’s economic environment, but these will be extraordinary campuses,” John Storyk concludes. “We engaged the most advanced predictive acoustic modeling software and have incorporated the latest acoustical and technical developments in every facet of our design to insure the highest degree of future-proofing for these studios and teaching labs. Roger Brown’s visionary commitment to bringing these schools to life speaks volumes about our faith in the future,” Storyk concludes. “Berklee will be preparing students for generations of creative, rewarding careers, both here and in Europe. WSDG is honored to be associated with this noble mission.”

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Photos: 1. Berklee College of Music 160 Massachusetts Ave. Rendering
2. Berklee 160 Mass. Control/Classroom Rendering
3. Berklee Valencia Campus (photo by Alberto Hidalgo)
4. Berklee Valencia Control/Classroom Rendering

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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AES Announces 132nd Convention Student Paper Award

BUDAPEST: AES Student Technical Paper Award Coordinator Rob Maher has announced that Marton Marschall has been named the recipient of this year’s Award for his paper “Robustness Of A Mixed-Order Ambisonics Microphone Array For Sound Field Reproduction,” co-authored with Sylvain Favrot and JÜrg Buchholz. The Award will be presented on Thursday, April 26 at the Opening Ceremonies at the Novotel Budapest Congress & World Trade Center. Mr. Marschall will present his paper at 10AM on Saturday, April 28.

A native of Budapest, Marton Marschall, received a diploma in electrical engineering from the Budapest University of Technology and Economics in 2006, and his MSc degree in engineering acoustics from the Technical University of Denmark in 2008. He then joined the Centre for Applied Hearing Research at the Technical University of Denmark, where he is currently a PhD student under the guidance of Professor Torsten Dau. As part of his PhD project, he is working on recreating realistic acoustic scenes for hearing research and for the evaluation of communication devices, such as hearing instruments and mobile phones. His research interests include virtual acoustics, spatial hearing and models of auditory signal processing and perception. The Award also makes Mr. Marschall’s manuscript eligible for publication consideration in the Journal of the Audio Engineering Society.

Please visit http://www.aes.org/events/132/calendar/calendar.cfm for a complete list of event titles, abstracts and presentation times.

Photo: Marton Marschall will receive the 2012 AES Student Technical Paper Award
at the 132nd AES Convention in Budapest on April 26.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With 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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Graham Blyth To Present AES 132nd Convention Heyser Lecture

In Pursuit of Elegant Simplicity: Life, Luck, and Learning in Music and Audio

BUDAPEST: Graham Blyth, internationally recognized Organist and accomplished professional audio equipment designer, will present the Audio Engineering Society’s Richard C. Heyser Lecture on Friday, April 27, 7:00PM – 9:PM at the Budapest Congress & World Trade Center. After successful conventions in London, Paris, Munich, Amsterdam and other major cities throughout Europe, the 132nd marks the first AES Convention to be held in Budapest.

A prime example of the AES ‘Listen, Learn, Connect’ initiative, Blyth’s Heyser lecture will describe his journey from audio design engineer to developer of Soundcraft Mixing consoles, with a special focus on his approach to mic preamp design. Blyth will also address the importance of the analog engineer in a mostly digital world and, the technical and musical challenges associated with designing high-quality digital classical organs.

As co-founder with Phil Dudderidge of UK-based Soundcraft, designers and manufacturers of highly regarded audio mixing consoles, Mr. Blyth has served as Technical Director of the firm since its inception in 1973. Harman bought the company in 1988, and it continues to maintain an outstanding position in a corporate family that includes JBL, DBX, Lexicon, AKG and Studer.

In addition to his technical virtuosity, Mr. Blyth is an esteemed concert artist who has performed in such celebrated venues as NYC’s St. Thomas Church; the Cathedral of Our Lady of Los Angeles; Grace Cathedral in San Francisco, and many of Europe’s most renowned cathedrals. In 1995 he built the Challow Park Recital Hall, a unique 80-seat auditorium with completely variable acoustics. In 2003 he founded the Veritas Organ Company to address the new generation of digital classical organs. Mr. Blyth is a fellow of the Royal Society of Arts and of the Audio Engineering Society.

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Photo: Celebrated Organist and accomplished professional audio equipment designer, Graham Blyth will present the AES Richard C. Heyser Lecture on April 27 in Budapest.

The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With 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

132nd AES Convention – Budapest Congress & World Trade Center – Apr. 26-29, 2012

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132nd AES Convention Offers Diverse Tutorials

From Beach Boys Smile Sessions To Notes On The Brain

BUDAPEST: A destination for listening, learning and connecting, the 132nd AES Convention, will feature a uniquely varied assemblage of Tutorials. Scheduled for April 26-29 at the Novotel Budapest Congress & World Trade Center, the gathering will draw attendees from around the world.

Tutorial Event highlights include:

The Making of The Beach Boys Smile Sessions: Arguably the greatest “lost” album of all time, The Beach Boys’ Smile sessions were finally released last November, in a variety of CD, vinyl and other digital configurations. Producer/Educator Barry Marshall will conduct a rare interview with Project co-producer Mark Linett about the legendary 1966-67 sessions. Their discussion will include the producer role Brian Wilson played in the project, as well a look at the technical and logistical challenges of mixing and mastering this landmark production from 45-year-old tapes at different configurations, speeds and sizes.

Noise on the Brain-Hearing Damage on the Other Side: Presenter: Poppy Crum – Did you know that drinking a glass of orange juice every day may actually protect your hearing? Most discussions of hearing damage focus on what happens to the cochlea and inner ear. While this understanding is crucial to predicting and avoiding trauma that can lead to hearing loss, this session will explore the latest research regarding the effects of acoustic and chemical trauma. It will also consider recent research in chemically preserving hearing and combating these conditions.

How Does It Sound Now? The Evolution of Audio: Presenter: Gary Gottlieb – One day Chet Atkins was playing guitar when a woman approached him. She said, “That guitar sounds beautiful.” Chet immediately quit playing and asked, “How does it sound now?” The quality of sound in Chet’s case clearly rested with the player, not the instrument. The technical and aesthetic quality of recorded music lies with engineers and producers, not solely on their equipment. This Tutorial will address the differences and similarities between their standards for excellence.

Please visit http://www.aes.org/events/132/calendar/calendar.cfm for a complete list of event titles, abstracts and presentation times.

Photo: Novotel Budapest Congress & World Trade Center hosts the AES Convention April 26-29.

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The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. With 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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