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Archive by Howard Sherman

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

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

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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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