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Archive by Howard Sherman

CORNELL UNIVERSITY DISCOVERS ORNITHOLOGICAL RESEARCH APP FOR SONNOX FRAUNHOFER PRO-CODEC

AES Convention A Catalyst For Innovative Plug-In’s Scientific Role

ITHACA, NY: At the Cornell University Lab of Ornithology’s Macaulay Library things can get a little wild. As the world’s largest scientific archive of biodiversity audio and video recordings, this collection encompasses over 195,000 sound and 60,000 video clips. Curator of Audio, Greg Budney and Supervising Audio Engineer Bill McQuay routinely investigate new tools to aid their research. Most recently they have been experimenting with the Pro-Codec, an audio plug-in created by UK-based Sonnox and Germany’s Fraunhofer (developer of MP3 technology).

Introduced last year, the Pro-Codec is a groundbreaking plug-in designed to revolutionize the process of mastering audio for online distribution. By enabling audio engineers to precisely audition codecs in real time, the Pro-Codec eliminates the prolonged cycle of encoding a music mix to MP3/AAC, previewing and tweaking it and then returning to their starting point to re-render. The abridged process frees the engineer to focus on producing a compensated, optimized mix.

Budney and McQuay first learned of the Pro-Codec while attending last year’s Audio Engineering Society Convention in NYC. “I spoke to the Fraunhover folks about our need to demonstrate appropriate and inappropriate uses of MP3 sound files to the scientific research community, and they directed us to the Sonnox booth,” McQuay says.

“We’re a resource for scientists studying evolutionary relationships between animals,” Budney explains. “Many species have genetically based sounds. By examining the vocalizations of a group of animals, their sounds can provide a window into their evolutionary relationships. Motion picture producers also use our collection,” he adds. “Skywalker Sound routinely contacts the Library for creative fodder, sometimes for sounds to build upon, sometimes for accurate natural world sounds.”

“We are trying to demonstrate to the scientific community that there may be appropriate and inappropriate uses for a lossy codec like MP3, which is based on human perception, but is not necessarily the perception of other species. In many cases we don’t know the perceptual limitations of these species – what frequencies they do and do not find important or encoded with meaningful information. We want to demonstrate that MP3 may be valuable for applications such as auditioning sounds, but may not be for serious sound analysis. The Pro-Codec provides a simple interface that allows us to consider what information in the frequency and time domains are being eliminated by the lossy MP3 codec,” McQuay adds.

McQuay and Budney want to assure scientists that they are listening to and analyzing sound with the greatest amount of content – audio content which might be critical to the species they are studying. “Scientists are really hip to spectrograms, they love those things,” McQuay says. “The Pro-codec’s real time FFT display graphically illustrates exactly what is happening to sound being processed by the MP3 or another lossy codec. And, the Pro-codec’s ability to make the sounds being eliminated audible helps to reinforce its lossy nature. Our hypothesis is that for serious sound analysis, the use of MP3 or other lossy formats may not be the appropriate choice.”

Research currently underway at the Macaulay Library will eventually be published in a scientific journal, pending the outcome of McQuay’s analysis. Budney points to the Library’s webpages, which provide technical support to researchers across a broad range of disciplines. “They might be marine mammalogists, ornithologists, or individuals studying animal behavior or bioacoustic phenomenon,” he says. “The library is recognized as a source of solid technical information by researchers around the globe. We’ll also be posting this information on our own webpages soon.”

Photo cap: Cornell Lab Curator of Audio, Greg Budney (left) and
Supervising Audio Engineer Bill McQuay

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For information on Sonnox Oxford Plugins please visit: www.sonnox.com

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Three Stooges + SIXTEEN19 = 100% Laughfest

Cutting in Four Locations, Editor Sam Seig Rates Sixteen19′s Systems and Support #1 In Reliability

NEW YORK: The culmination of a twelve year odyssey, The Three Stooges is a testament to the tenacity of co-directors Bobby and Peter Farrelly. Editor Sam Seig reports the production was the diametric opposite of the antic chaos that unfolds on screen. “This was a completely buttoned down shoot,” Seig says. “The Farrelly Brothers polished every scene for a tight but realistic 3-month shooting schedule. Thanks to Sixteen19, I didn’t have a moment of technical down time at any point in the shoot.”

Thanks to his flair for comedy, Seig edited the Farrelly Brothers’ Hall Pass, having worked with them as first assistant years prior on There’s Something About Mary. He was invited on board The Three Stooges very early in the game. “It took years to bring this film to the screen, but it was worth the wait,” he says. “Bobby and Peter crossed every ‘T’ and poked every ‘eye’ in pre-pro. They were ready for action.”

Seig first encountered Sixteen19′s team with Ghost Town in 2008. “I edited there for eight months and got to know company principals Jonathan Hoffman, Pete Conlin, Claire Shanley and their crew very well,” he reports. “They’re total pros, and constantly went the extra 9 yards for me throughout my stay. When The Three Stooges was green lit, they were my first choice for our editing setups. I knew I could depend on them for top-flight gear and reliable support.

“Every element of the system they put together for me was brand new, including the 52″ plasma screen.” Seig adds, whose setup included 3 Avid Media Composer v5.5 systems connected to 16TB of shared Unity storage. “They had the whole configuration up and running when I walked into our first location’s edit suite in Atlanta. A couple months later, they broke down our setup on a Friday and shipped it to Cape Cod for the next lap, where it was installed and ready for work at the end of the weekend.” The production’s months in Cape Cod included the Hurricane Irene scare: preparation for worst-case scenarios involved relocating the Unity storage to avoid possible flood exposure and a full orderly shutdown supervised by Sixteen19′s technical team.

Following the months on Cape Cod, the schedule included further moves: “Sixteen19 flew the systems out to Ojai, CA for additional location work,” Seig explained. “With consistent technical support and equipment resources, the multiple relocations didn’t pose a challenge for the editorial process. Sixteen19 even customized the rig so that I could work standing. I found that much more energizing than sitting at the desk, and I plan to keep cutting that way from now on.”

Seig worked with Peter Farrelly on the initial rough cut during the first stage of production, and then with Bobby Farrelly on the second pass. When Sixteen19 relocated the editorial set up to L.A., Seig collaborated with both directors as they honed the final cut. “In addition to great fun, this was a surprisingly straightforward edit,” Seig concludes. “Cinematographer Matthew Leonetti was shooting with two 35mm cameras, but we didn’t have an overabundance of footage. The script was fine tuned, and the cast honed split second timing for every gag. They were like a crack team of Navy SEALS… Well, maybe circus seals.”

Starring Sean Hayes, Chris Diamantopoulos and Will Sasso as Larry, Moe and Curly (respectively), The Farrelly Brothers movie The Three Stooges opens nationally on April 13 (that’s a Friday).

Photos: 1. The Three Stooges editor Sam Seig at a Sixteen19 mobile
Avid editing system

2&3. Frames from The Farrelly Brothers movie The Three Stooges

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans, Los Angeles, 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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AES 132nd Convention Offers Prolific Papers/Posters Presentations

The Hand Clap As An Impulse Source, Virtual Microphones & Audio For Games

BUDAPEST: Over one hundred enlightening Paper and Poster presentations have been developed for the 132nd Audio Engineering Society Convention set for the Novotel Budapest Congress & World Trade Center April 26-29. Leaders throughout the international professional audio community will gather to exchange ideas, and take maximum advantage of the Convention’s unique networking opportunities. Highlights of the varied Paper and Poster schedule include:

The Hand Clap as an Impulse Source for Measuring Room Acoustic: Authors – Prem Seetharaman and Stephen P. Tarzia tested the suitability of hand clap recordings for measuring several acoustic features of musical performance and recording rooms. Their goal was to make acoustic measurement possible for amateur musicians and hobbyists through the use of a smartphone or web app. Using their technique, measuring a room’s reverberation times and frequency response is as easy as starting a smartphone app and clapping several times.

Emerging and Innovative Audio Virtual Microphones – Using Ultrasonic Sound to Receive Audio Waves: Authors – Tobias Merkel, Hans Lƒhmann, and Tom Ritter will discuss their research with highly focused ultrasound beams and microphones. They overlaid the wave field of a common audio source with an ultrasonic beam. They discovered that the phase shift of the received signal obtains the audio information of the overlaid field. Since the ultrasonic beam itself acts as sound receiver, no technical device e.g. membranes, are necessary in the direct vicinity of sound reception. Because this type of sound receiver is not visible or touchable they describe it as a “Virtual Microphone.”

Audio for Games and Mobile/PDA, Efficient Binaural Audio Rendering Using Independent Early and Diffuse Paths: Author – Fritz Menzer A multi-source binaural audio rendering structure is proposed that efficiently implements plausible binaural reverberation including early reflections and late reverberation. The structure contains delay lines and, a feedback-delay network that operate independently, modeling early reflections and diffuse reverberation, respectively. Computationally efficient heuristics are presented for the implementation of an HRTF set and, for the diffuse reverberation, a real-time implementation on a mobile device will be presented.

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

Photo: The Budapest Congress & World Trade Center hosts the 132nd 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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Workshops Highlight AES 132nd Convention

Distributed Music – Recording Reality – Audio Hardware in Smartphones & More

BUDAPEST: Workshops are a major attraction at every Audio Engineering Society Convention. Scheduled for April 26-29 at the Novotel Budapest Congress and World Trade Center, the 132nd convention will deliver another program of diverse, compelling, and educational workshop events including:

Distributed Music Panel: Chair: Alex Case, Panel: Nathan Brock, Alvaro Barbose
David Willyard (remotely) and Karl Steinberg (remotely) This workshop covers the emerging field of music intended for performance over networks, including both advanced research and the public Internet. Topics such as determined limits for delay between locations, and methods for performance above and below these thresholds will be addressed. Soundjack and the Jamlink hardware interface will be discussed as examples of realistic interaction over networks. There will also be a discussion of artistic strategies for overcoming excessive delay in performance.

Reality Is Not a Recording/A Recording Is Not Reality: Presenter, Jim Anderson
Former New York Times film critic, Vincent Canby, wrote “all of us have different thresholds at which we suspend disbelief, and then gladly follow fictions to conclusions that we find logical.” It is the responsibility of the recording engineer and producer to create a universe so compelling and transparent that the listener isn’t aware of any manipulation. How can we produce a listening experience that is both logical and better than reality? What techniques can be applied?

Audio Hardware in Smartphones: Chair, Antti Kelloniemi Comparisons between novel Smartphones and other professional or consumer audio equipment reveal that phones provide highly sophisticated audio functions for their size and price. Users expect high quality noise reduction and echo cancellation wide frequency response, and high dynamic range,. Quality expectations keep rising, while devices must remain small and affordable. This workshop will provide introductory level Smartphone audio solutions and a discussion of current audio performance requirements. Examples of state-of-the-art audio component technology will be demonstrated.

AES Conventions are a locus for listening, learning and connecting. Please visit http://www.aes.org/events/132/calendar/calendar.cfm for a complete list of event titles, abstracts and presentation times.

Photo: The Novotel Budapest Congress & World Trade Center hosts the 132nd AES Convention

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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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AES Posts Preliminary 132nd Convention Calendar

Budapest Hosts the Audio Engineering Society April 26-29

BUDAPEST: The Audio Engineering Society 132nd Convention Preliminary Calendar of Events is now posted at http://www.aes.org/events/132/calendar/calendar.cfm
Scheduled for April 26-29 at the Novotel Budapest Congress & World Trade Center, the Convention will feature a robust program of enlightening Papers, Workshops, Tutorials, Recording, Hearing, Broadcast, Game Audio, Student, Career, and Special Events.

The full-color, easy-to-navigate Calendar features ‘Pop Up Windows’ with descriptive abstracts, dates and times for each event. Visitors may also subscribe to iCalendar links on to their PDA, phone or calendar software. Please note dates and times of events are subject to change.

For details on registration please visit: https://secure.aes.org/events/132/visitors.cfm

For information on AES approved hotels visit: http://www.aes.org/events/132/hotels/

“The Convention Committee has prepared an extremely varied and informative program for our 132nd Convention,” AES executive director Bob Moses says. “We are confident attendees will find Budapest to be a vibrant host city, and that they will find numerous ways to listen, learn, and connect with each other.”

Photo: The Novotel Budapest Congress & World Trade Center will host the 132nd
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

132nd AES Convention – Budapest Congress & World Trade Center – April 26-29

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John Storyk Continues Lecture Initiative

NEW YORK: John Storyk R.A., designer of over 3,000 audio/video production, performance, corporate and educational facilities, continues to maintain an active adjunct career as a teacher and lecturer. His current schedule includes a number of presentations on Acoustics and Recording Studio Design. These include a first appearance at Tufts University in Boston; lectures at the Berklee College of Music (Boston); the University of Colorado (Denver); Union College in Schenectady, NY; and a date at NYC’s SAE Institute of Technology.

In addition to his busy educational lectures, on June 11 Storyk and WSDG co-principal Beth Walters will make their 3rd consecutive presentation at NeoCon, North America’s largest design exposition and conference for commercial interiors, at Chicago’s Merchandise Mart. The two-part presentation consists of Acoustics in Architectural Design (Storyk) and Specific Acoustic Design Tips – Advanced Workshop, (Walters). That same day Storyk will address students at the Illinois Institute of Art Chicago.

Storyk also participates in the ongoing AIA Continuing Education program. He presents an Introduction to the Design, Theory and Construction of Architecture and Acoustics of Recording, Production, and Post-Production Environments to architectural firms around the country. His one-hour, presentation is considered the definitive assessment of architectural acoustics as they pertain to small critical listening and viewing environments. The AIA has just certified an advanced version of this presentation, which is now available as a follow up to his original lectures.

A member of the American Institute of Architects (AIA) and the Audio Engineering Society (AES), Storyk is a frequent contributor to AES Convention Panels and Papers. He has lectured at Yale, Columbia, NYU, Ex’Pression College, SF, Full Sail Center, Orlando and many other leading schools. For additional details on Storyk lectures visit: http://www.wsdg.com/dynamic.asp?id=teaching

The Walters-Storyk Design Group www.wsdg.com is a seven-time winner of the prestigious TEC Award for outstanding achievement in Acoustics/Facility Design, including the 2012 Award for Ann Mincieli’s NYC ‘Destination Studio,’ Jungle City. WSDG maintains a staff of fifty designers and engineers, and offices in NY, SF, Miami, Beijing, Basel, Switzerland; Buenos Aires, Germany, Spain, and Belo Horizonte, Brazil.

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Photo: WSDG co-principal John Storyk

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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Sixteen19 Makes The Cut For SHOWTIME Sports/CBS Sports’ “A Game Of Honor”

‘Webisodes Continue To Score With Viewers – DVD To Follow

NEW YORK: One of Showtime Sports and CBS Sports’ most highly rated original feature length docu-dramas, A Game Of Honor provided an extraordinary perspective on preparations for the 2011 Army-Navy football game. Digital production teams chronicled U.S. Military Academy/West Point cadets and U.S. Naval Academy/Annapolis midshipmen throughout their intense military, educational and sports training as they readied themselves to serve their country and compete in this sports event.

With shooting beginning in May and the edit gearing up in September, the team had three months to edit and deliver the incredible events leading up to the widely anticipated 2011 Army / Navy game. With this tight schedule, including just 11 days between the Army/Navy game and the show’s airdate, Director/ Producer Peter Radovich, Jr. and Producer Steve Karasik enlisted frequent collaborator and Emmy-winning Sixteen19 creative editor Anthony Cortese for the cut.

“Last April, I had an epiphany about doing a documentary on training for the 2011 Army-Navy game,” Radovich says. “When Steve Karasik and I pitched it to CBS/Showtime execs, we got an immediate green light. When we kicked off production in May I was a little concerned about pulling it together in just six months. However, Anthony and I had collaborated on a number of short-form projects at Sixteen19, and I had great confidence in his skills. I knew we could make this happen.”

“A Game Of Honor, was one of the most complex and demanding assignments of my career,” Cortese says. “On most days, we had two cameras shooting on location morning thru night; on the field, in classrooms, dorms, gyms, all over both academies, but that ratcheted up to eight Canon 5D and Red Epic(r) kits for the main event, The 112th Army Navy Game. They accrued nearly 500 hours of footage, which I cut on a daily basis on Avid Version 5 as it arrived in our edit suite. This project was a full-scale marathon.” Associate editors Quenna Gregorio and Chris Mole worked alongside Cortese to manage multiple story lines.

To keep track of the voluminous material, the Sixteen19 technical team worked with the project’s field producers to develop a dailies workflow that was both fast and efficient. With over 100 shoot days, distinct tape names, scene and serial numbers were critical for each clip. This system helped to transcend the timecode limitations of the 5D at the time, issues with sync sound and the fact that crews were often simply moving too quickly to slate.

“A tapeless workflow project of this scope required an extraordinary support crew,” Cortese says. Sixteen19′s technical team collaborated closely with Cortese and a number of consulting experts to insure accurate conversion of multiple archival formats to 24p. After picture lock, Sixteen19 Senior Colorist Brian Boyd worked around the clock to make the footage come to life. Boyd remarked, “Balancing the multiple formats and shoot settings with such a tight deadline was challenging, but the timely and patriotic subject matter and the incredibly talented crew made for a rewarding experience.”

In addition to editing the two-hour CBS Sports docu-drama, which premiered Dec. 21st on Showtime, Cortese also edited a two-hour CBS TV cut. The network show hewed closely to the original, but excised the unexpurgated language of the cable version along with some particularly rough action scenes. He also edited seven of the ten ‘webisodes’ created to promote the show online. Ranging in length from three to eight minutes, they provided fans with additional details and insights not included in the full-length program.

“The ‘webisodes’ http://www.youtube.com/watch?v=vQ29wKMekoE were an entirely different mindset,” Cortese points out. “They began airing in mid-October, and they continue to maintain a strong presence online today. We received reports that indicate they not only helped to attract a terrific audience to the Showtime and CBS presentations, but they’ve also attracted a rapt audience in their own right. We’ve heard stories about ardent online viewers who watch them repeatedly,literally studying them over and over. It’s gratifying to learn that your work is getting that level of serious attention.”

“We were cutting new footage up to a couple of weeks before airtime, we’re talking late nights and weekends here,” Rodovich concludes. “New story lines kept us constantly revising to make GOH as exciting and timely as possible. We screened the show for West Point and Annapolis brass shortly before airtime. Their positive reactions confirmed our instinct about having created something very special. We hope to have the DVD out soon, which will stand as a lasting record of this amazing adventure.”

Photo 1: Editor Anthony Cortese (l) and Director/Producer Peter Radovich, Jr.
at work on “A Game Of Honor” in a Sixteen19 Edit suite.

#1, 3, 5: Scenes from Showtime Sports/CBS Sports docu-drama “A Game Of Honor”

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Sixteen19 is a post-production services company with offices at 1619 Broadway, NYC and divisions in New Orleans, Los Angeles. and London. The firm specializes in DI, color correction, editing, 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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China’s Pop Superstar Hins Cheung Debuts WSDG Studio

World-Class Destination: Classic SSL & Neve + Symphony-Size Live Room

GUANGZHOU, CHINA: One hour by train from Hong Kong, in the thriving metropolis of Guangzhou stands China’s first true ‘destination’ recording studio. Technologically sophisticated and acoustically superb, Village Studios was conceived by international pop star Hins Cheung. Three years in development and construction, the complex represents the future of China’s recording industry. And, a carefully considered investment in a superstar’s long-term career plan.

Designed by Walters-Storyk Design Group, the project exemplifies the unique synthesis of several of its international offices. The project’s efforts were initially led by WSDG principal John Storyk, and required highly sophisticated analysis and auralization, developed by WSDG’s European and Brazil branches. Village Studios combines world-class acoustics and aesthetics in an exotic, yet fully cosmopolitan setting.

Graced with a striking interior design developed by WSDG partner, Beth Walters, the 12,400 sq. ft. ground up building is distinguished by an expansive 3000 sq. ft. live room, with an 18 ft. high ceiling. Village Studios features two autonomous 800 sq. ft. control rooms, each with spacious 640, and 230 sq. ft. ISO booths. Hins’ manager, Bella Fan reports that his affinity for vintage gear, inspired Studio A to be outfitted with a prized SSL9080K console. Studio B features a classic Neve VR72 and 8068.

WSDG’s initial drawings proved very close to the mark in terms of Hins’ expectations. Complex site lines between the orchestra sized live and dual control rooms, coupled with the double height ceiling and, the higher than average reverb time typically associated with China’s idiosyncratic music style, presented extremely interesting design challenges. To resolve these issues WSDG engaged a number of elegant, variable acoustic solutions including custom curtains and multi-format diffusion panels. WSDG also provided detailed construction documents, project construction administration and final studio commissioning/tuning for the complex. “To bring a project of this size and sophistication to reality on the other side of the world was a formidable challenge,” John Storyk remarked. “It was an honor to work with Hins and his team.”

The complex includes a 520 sq. ft. orchestra lounge with 18′ high ceiling, multiple smaller lounges, kitchen and offices. “This project was an extremely ambitious undertaking,” Beth Walters says. “China is expanding its international presence in virtually every area of art and industry. Village Studios sends a clear message that a new ‘destination recording studio’ has arrived.”

“John Storyk made his initial visit to the site in early 2009,” reports Project Manager Joshua Morris. “We began preliminary design work soon after he returned. Our US -based senior PM, Romina Larregina led the team that developed all designs and documentation. She also coordinated building permits and other pre-construction details with the local architect, engineering and construction teams. I completed the design and construction documents and made my first site visit in Sept. 2009,” Morris said.

While reviewing on site work, discussing technical issues and inspecting acoustic treatments and building materials, Morris was pleased to find a high level of construction and technical expertise among the local Chinese contractors, and technicians. “It is safe to say that this level of acoustic detail was a challenge for the construction team in China – a challenge that was successfully met. Wherever possible, local materials were used, although studio specialty items such as room isolation devices and acoustic doors were either directly imported or licensed for Europe and the USA,” Morris adds.”

As plans called for substantial A/V interconnectivity between the live and twin control rooms as well as numerous recording sites throughout the complex, systems integration and isolation were primary concerns. Hins’ team along with WSDG systems design engineers, Judy Elliot-Brown and Caroline Feldmeier held extensive online dialogues with their China-based colleagues. Further on in the project, Hins requested that Brown visit the site for a full review of the wiring program and to have her lead the installation of the final a/v conduit and raceway system.

Fully loaded with Pro Tools, Lynx Aurora, Studer, Prisim Sound, Apogee Lexicon, TC Electronics, Eventide, Mercury, GML Manley, Fairchild, API, Empirical, Crane Song, and a full complement of classic mics including AEA, Beyer, Neumann, Royer, Telefunken, Song C800G, DPA, Schoeps and Shure. The studio also features two Hammond B3 organs and six Fender Rhodes electric piano models. Mains monitors in the SSL Control Room are custom 15″ Augspurgers. The Neve Control Room features 15″ Dynaudio Acoustics custom Munro M6 mains. The technology package was coordinated by WSDG, in conjunction with US-based Professional Audio Design.

Beth Walters worked closely with Hins and Bella Fan, to determine the most appealing color schemes and furnishing details. “Village Studios is an extraordinary accomplishment from every perspective,” Walters says. “We were committed to providing Hins with aesthetic details to complement their superlative acoustic and technical elements. Initial reports seem to indicate that we have achieved that goal.

“It is interesting to note that neither distance nor language presented insurmountable barriers to our collaboration. We see Village Studios as a triumph of professionalism. Hins has already recorded sessions with a full 60-piece symphonic orchestra. His business plan is to make the studio available to both Chinese artists and an international client base,” John Storyk concludes, “We are proud of this truly international design effort and confident that China’s newest world-class studio will be a true asset to that country’s entertainment industry.”

To view a full 60-piece orchestra live recording session with Hins at Village Studios visit: http://www.tudou.com/programs/view/5ZeQ5GNl9OI/

Photos: 1. Village Studios Presentation Drawing
2. Village Studios owner Hins with 60 piece orchestra in 3000 sq. ft. Live Room

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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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AES Nashville Announces Keb Mo as Keynote Speaker for 2012 Nashville Recording Workshop +Expo

“Helping Creative People Make Better Recordings” NASHVILLE: The AES Nashville Section is pleased to announce that three-time GRAMMY-winning artist/songwriter/producer Keb Mo will be officially opening the 2012 Nashville Recording Workshop +Expo event on Friday, March 2, with a keynote address and interactive Q&A discussion with attendees. Additionally, Mo and his go-to engineer for both studio and live performance, John Schirmer, will be walking through the production of a complete song from start to finish in the final session of the first day of NRW+E 2012, giving their unique perspectives on both the technical and emotional experiences of making a recording and conveying the truest possible message on to the listener. Having worked together on variety of musical projects, including production for artists on Keb Mo’s Yolabelle International label and musical scores for a multitude of television shows at his Stu Stu Studio in Nashville, this will afford a unique opportunity to gain insight to such a multi-faceted career and the creative process. more

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AES Names Bob Moses Executive Director

NEW YORK, Tuesday, December 20, 2011: Bob Moses, longtime AES member and officer, accomplished product designer, technologist, and pro audio industry advocate, has been named Executive Director of the Audio Engineering Society. Announced today, by AES President Jan Abildgaard Pedersen, Moses will assume his new role January 1, 2012.

“An exhaustive search was undertaken for the best possible candidate for this pivotal AES position,” Jan Pedersen remarked. “Bob Moses is eminently qualified to address the multi-faceted demands of our 14,000 plus member organization. He brings enthusiasm, technical acumen, leadership and communications skills to this critical position. During his 23 years as an AES member, he has established invaluable relationships throughout our international membership. He is committed to implementing the Board of Governors’ goals of ensuring the Society’s fiscal health into the future, growing membership, and increasing value to our members and supporters. His deep appreciation for our 63-year history coupled with his eagerness to address the challenges of the future make him an ideal choice for Executive Director.”

In accepting the position, Bob Moses said, “The AES has been the backbone of my career. It has provided me with a unique platform to evangelize my ideas and seek feedback from the industry. I’ve learned almost everything I know about audio, and met many of my closest colleagues, through AES activities. I can’t imagine achieving my career goals without AES there to support me.

“Outgoing Executive Director Roger Furness has done an incredible job over the past 17 years, and I deeply appreciate his decision to remain aboard throughout 2012,” Moses continued. “My initial task is to identify where the AES provides maximum value to its membership and the industry, and to advance new ways to enhance this value. Sixty-three years ago the AES was the place for the scientific community to share ideas. Over time, AES Conventions evolved as the best forum for manufacturers to exhibit professional audio products. But today, the Internet and persistent economic challenges worldwide have changed the game. Based on my own experience as an AES member, author, and exhibitor, I know the AES remains a vital resource for audio professionals. We need to clarify that value and communicate it better. I’m ready for the challenge.”

In 1987 after graduating from McGill University with an electrical engineering degree, Bob Moses joined Rane Corporation as a digital audio product designer. In 1995 he invented a novel means of transporting audio over Firewire and cofounded Digital Harmony Technologies (DHT) to deploy this technology. Moses worked as a consultant to numerous consumer and professional audio manufacturers until he was recruited by THAT Corporation in 2006 as Program Manager of its integrated circuit (IC) business. During the past five years he has concentrated his energies on managing new technology development at THAT.

As a member of the AES Board of Governors since 1999; VP Western Region, 2001 -2006; and President, 2007 – 2008, Bob Moses has served an increasingly integral role within the organization and on Convention development, including several consecutive turns as Product Design Track Chair.

“We are confident that Bob Moses will prove himself an imaginative and resourceful Executive Director as the AES moves forward in the coming decades,” Jan Abildgaard Pedersen concludes. “We recognize the invaluable contribution Roger Furness has served in this demanding role, and we are pleased he will be staying on next year to ensure a smooth transition to the future.”

The AES 132nd Convention will be held in Budapest April 26-29. The 133rd Convention is set for San Francisco Oct. 26 – 29.

Photo Caption: Bob Moses has been named Executive Director of the Audio Engineering Society.

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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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