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134th AES Convention Preliminary Events Calendar Link Is Live

Roam Online For Comprehensive Events Details On May 4-7 Convention In Rome

ROME: The Preliminary Events Calendar for the 134th AES Convention, is live on the AES website. Packed with descriptive abstracts of Papers, Workshops, Tutorials and Special Events, the Preliminary Events Calendar offers a comprehensive overview of the first AES Convention to be held in the Eternal City.

134th AES Convention Chairman Umberto Zanghieri emphasizes, “While the Calendar covers virtually every presentation and event we have developed for the entire four day Convention, attendees should continue to refer to it on a regular basis as times and locations are still subject to change.”

The 134th AES Convention will be held May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre. The event represents a unique opportunity for audio industry professionals to exchange ideas and information and to network with peers from around the globe in one of the world’s most historic cities.

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* Deadline for Advance Registration is April 19, 2013 click on https://secure.aes.org/events/134/visitors.cfmt to register
* Non-members who wish to join the AES may visit: http://www.aes.org/join/
* To attend the AES the technical program visit: https://secure.aes.org/events/134/visitors.cfm

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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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134th AES Convention Rome – Sound for Pictures Track

Skyfall Music Production – Moscow’s 1st Atmos Theater – Critical Standards

ROME: “The early filmmakers classic term ‘MOS’ is virtually obsolete,” states 134th AES Convention Chairman, Umberto Zanghieri. “Most audio produced today is directly associated with cinema, TV, Internet, streaming broadcasts, video games, and mobile. It is almost inconceivable to imagine pictures ‘Mit Out Sound.’ This Convention’s Sound For Pictures Track Chair, Brian McCarty, has developed a particularly compelling program of Papers, Tutorials and Workshops,” Zanghieri adds.

Scheduled for May 4-7, 2013 at Rome’s Fontana di Trevi Conference Centre, the Convention will explore emerging trends in 3-D Sound, Large Room Reproduction Systems and Acoustics. Leading international and Hollywood-based sound mixers and designers will discuss techniques and critical standards issues facing today’s sound for picture professionals.

Sound For Picture Track Presentations Include:

Music Production For Film: Presenter, Simon Franglen – Co-producer of the main theme song from Titanic with Celine Dion, Franglen has been an integral collaborator on the music production of such blockbuster hits as: Avatar, Spiderman, and Skyfall. Utilizing clips from all three films, Franglen’s Tutorial will illustrate the construction of a film soundtrack from inception, temp track and recording through final mix.

Design and Construction of The First Atmos-Equipped Dubbing Theater: Presenter, Philip Newell – Prolific author, and 35-year veteran designer of such celebrated studios as The Manor and Townhouse, Newell’s book “Recording Studio Design” (2003) is considered the definitive guide to a successful project. A Fellow with the Institute of Acoustics – Newell’s Workshop will document his latest cinema sound project, construction of the first new, Dolby Atmos Theatre in Moscow, finished just weeks ago.

Multichannel Immersive Audio Formats for 3-D Cinema and Home Theater: One of the most well attended workshops of 133rd AES Convention in San Francisco was a presentation by the four leading proponents of Immersive 3-D sound systems. Iosono, Auro3D, Dolby, and NHK. Representatives from all four of these pioneering companies will return to the Workshop stage in Rome to continue their discussion on the relative merits in each of their proposals.

Additional Sound For Picture Presentations will be posted on the preliminary program will be posted at www.aes.org soon.

In a related announcement, Sound For Pictures Track Chair, Brian McCarty, reports that two newly initiated AES Standards Committee projects are in development. AES-X218: Measurement and Calibration of Sound Systems in Rooms, is scoped to identify tools and procedures for measuring the performance of a loudspeaker system in a room, and support accurate, reliable calibration of this system to a specified performance. AES-X219: Method of Measurement for Frequency and Impulse Response of Sound Systems in Auditoria, is scoped to specify a method of measurement for frequency and impulse response of sound systems in auditoria. It is intended to produce a Standard, and the development discussions are expected to draw on modern measurement techniques.

Photo: Music Production for “Skyfall,” the recent James Bond blockbuster will be discussed at the upcoming 134th AES Convention in Rome in May.

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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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134th AES Convention Overview

Sponsors – Tracks – Workshops – Papers

ROME: Sponsors, Presenters and attendees are preparing for the first Audio Engineering Convention to be held in the Eternal City. Scheduled for May 4 -7 at Rome’s Fontana di Trevi Conference Centre, the 134th AES Convention will maximize the scenic and social advantages of one of the world’s most beloved cities. “We have coordinated a full program of distinguished speakers, timely tracks, and stimulating special events designed to provide information, inspiration in an incomparable setting,” states Convention Chairman Umberto Zanghieri. “Established audio pros and students preparing for next-generation jobs, will benefit immeasurably from this convention experience.

“In addition to an extraordinary technical and educational program, the Convention will feature special displays by over a dozen prominent Sponsors,” Zanghieri emphasizes. “We are pleased to welcome, Audio Precision, Audiomatica Srl, B&C Speakers, bdSound, CharterOak, Crane Song Ltd., EKO Music Group spa, Fairlight Europe, Klippel GmbH, LAMBDA srl, Microtech Gefell GmbH, RCF spa, Trinnov Audio and ZP Engineering srl, and we thank them for their support.”

Over 140 Papers Sessions, Workshops, Tutorials, Engineering Briefs, Student and Career Development events have been developed for the Convention. Preliminary lists of presentation titles are posted at http://www.aes.org/events/134/ click on the “Visitors” button for details. The Convention will also host Standards Committee and Technical Council Meetings. A variety of social events have been coordinated to support enhanced one-to-one connectivity throughout the four-day event.

The 134th AES Convention technical program is highlighted by Five Convention Tracks developed to provide timely, comprehensive perspectives on Live Sound, Loudness Issues, Recording Techniques, Spatial Sound and, Sound For Pictures and TV.

Papers Co-Chairs Veronique Larcher and Angelo Farina and their review committee evaluated over a hundred submissions in search of the most compelling presentations. Subjects encompass such issues as: Improving Listening Ability Using E-Learning Methods and Evaluation of Acoustic Features for Music Emotion Recognition. Click on Papers for comprehensive details.

Workshop and Tutorials Programs, will provide attendees with invaluable information on topics ranging from 3-D Audio Automotive Applications; Multichannel Immersive Audio Formats for 3-D Cinema and Home Theater; and, Creative Distortion? You Are in the Over-Driver’s Seat. Click on Workshops and Tutorials for preliminary program details.

A formal preliminary program will be posted at www.aes.org soon.

“Every AES Convention offers a unique opportunity for acquiring real-world insights from recognized leaders in professional audio,” Zanghieri remarked. “The benefits of interacting with product developers, researchers, educators, students and peers are pillars of AES events. The fact that Rome is our host city makes this Convention even more compelling,” he concludes.

For details on Convention Tracks visit: http://www.aes.org/events/134/program/

The deadline for Advance Registration is April 19, 2013 and you can register here: http://www.aes.org/events/134/registration/

Many unique and wonderful hotels are situated near the Trevi Conference Center as are unforgettable Roman ruins. Accommodations are available at special AES rates in a few selected hotels. Prices listed are good until April 5th. For information on reservations click here: http://www.aes.org/events/134/visitors/hotels/

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Photo: The 134th AES Convention will be held in Rome, Italy – May 4-7, 2013

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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Wolfgang Klippel To Present 134th AES Convention Heyser Lecture In Rome

“Small, Loud-Speakers: Taking Physics To The Limit”

ROME: 134th AES Convention Chairman, Umberto Zanghieri, has announced that Wolfgang Klippel will present the Richard C. Heyser Memorial Lecture. Founder of Klippel GmbH, and developer of innovative control & measurement systems dedicated to loudspeakers and transducers, Klippel is a distinguished educator and an AES Fellow. The convention will be held May 4 -7, 2013 at the Fontana di Trevi Conference Centre – Rome, Italy,

Entitled Small, Loud-Speakers: Taking Physics To The Limit, the Heyser Lecture will address the challenge in engineering diminutive speakers that can also be loud, have high efficiency and low distortion. The loudspeaker is the weakest part of the audio chain, and the basic construction and principle of the moving coil speaker has remained unchanged for a century. However, understanding of its operation and limitations has increased considerably. Modern signal processing techniques, coupled with innovative design can create small drive units with optimum trade-off between the crucial design factors. An abstract of the lecture is posted at http://www.aes.org/technical/heyser/aes134.cfm

“Considering our primary Convention Tracks: Live Sound, Loudness, Spatial Sound, and Sound for Pictures, Wolfgang Klippel’s presentation is particularly appropriate,” states AES Technical Council Chair, Francis Rumsey. “His lecture’s central topic will focus on cultivating large signal transducer performance. As a leader in research on transducer modeling, acoustic measurement and psychoacoustics, and as a pioneer in the development of critical measurement tools, Wolfgang Klippel is one of the most highly respected experts in the field.”

Celebrating its 65th year of leadership in the professional audio community, the 134th AES Convention marks the first major AES event to be held in Rome. “Arguably the very birthplace of engineering, our ‘Eternal City,’ will provide a richly historic setting for the world’s top audio professionals, educators, and students,” Umberto Zanghieri, concludes. “They will share the latest advances in audio research and practice, and a rare opportunity to listen, learn and connect with their peers, customers, and mentors.”

Photo: Wolfgang Klippel will present the Heyser Memorial Lecture at the 134th AES Convention in Rome

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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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Stephen Webber To Keynote AES 134th Convention In Rome

Internationally Recognized Professor of Music Production/Engineering & Star DJ

ROME: Stephen Webber, internationally recognized author, professor of music production & engineering, and star hip-hop DJ, will present the Keynote address at the 134th AES Convention. Scheduled for May 4-7 at the Fontana di Trevi Center in Rome, the Convention promises a rich program of educational Workshops and tutorials, research papers, standards and technical committee deliberations, and an incomparable environment for networking with the world’s audio elite. In making the announcement AES Executive Director Bob Moses remarked, “Stephen Webber personifies today’s AES membership. He combines a deep commitment to education with a high profile career as a creative DJ. An accomplished author and lecturer, Webber’s Keynote will provide a insightful bridge between the future and our legacy.”

Author of such successful books as Turntable Technique: The Art of the DJ, Stephen Webber is an international clinician who presents workshops, master classes and performance seminars on Production, Mixing Techniques, and Songwriting. An Emmy-winning composer who’s works include the Stylus Symphony, Webber was recently appointed Director of Music Technology Innovation at Berklee’s new campus in Valencia Spain. He addressed the Berklee Graduating Class of 2012, and has performed and lectured extensively in the US, China, Australia, Central America, and Europe. Webber is also an accomplished studio designer whose clients include actors Jack Black and Ben Stiller, and a producer/engineer who’s worked with NAS, Mark O’Connor, and DJ Premier.
Entitled “Inventing the Album of 2025,” Webber’s AES Keynote will seek to consider what is technologically, economically, and artistically possible, to decipher what the record album should look, sound, and feel like come 2025.

“We have high expectations for the 134th AES Convention,” Bob Moses concludes. “Attendees will find many opportunities to listen, learn and… connect with each other.”

Photo: AES 134th Convention Keynote Speaker, Stephen Webber

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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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WSDG Completes World Class Sound Reinforcement System Upgrade For KKL Luzern Concert Hall

LUZERN, SWITZERLAND: From its opening performance by the Berlin Philharmonic in August 1998, the KKL Luzern Concert Hall was recognized as one of the world’s great performance centers. An international landmark, both architecturally and culturally, the complex attracts music fans from around the world to its picturesque lakeside setting.

Designed by architect Jean Nouvel and opened in 2000 KKL Luzern is comprised of three distinctive sectors: The conference and meeting room wing, complemented by a number of lounges and restaurants; A black box-style multipurpose hall, which presents events ranging from rock concerts to general assemblies; And, a Concert Hall distinguished by world-class acoustics designed by Russell Johnson’s Artec. The Concert Hall features some remarkable acoustical properties, including an extremely low quietness level of below 20 dB and mechanically variable room acoustics employing huge echo chambers surrounding the hall. A dozen years of constant use – with an impressive yearly booking rate of more than 90% – coupled with significant technological advances prompted the KKL Luzern management group to upgrade its retractable electro acoustical system. WSDG, an international team of acoustics experts, was brought in to accomplish this essential project.

The Concert Hall

The Concert Hall’s retractable electro acoustical system is used as a high-quality sound reinforcement system during many of the events, typically jazz, world music or pop style concerts and also for speech announcements during performances. The Concert Hall has a gently rising main floor, plus four balcony levels – the lowest of which flows into the organ loft with additional seating, resulting in a total seat count of just under 2.000. The hall’s dimensions correspond to a classic 1:1:2 shoe box shape with a height of 22 meters (72ft), a width of 22 meters (72ft) and a length of 46 meters (150ft). The clear wood stage consists of 41 adjustable elements. Situated at the front end of the house, directly above the stage, the Goll organ boasts 4’387 pipes. The organ can be closed with large doors and a 12 x 8 m (40ft x 26ft) wide projection screen can then be dropped in front of it. A retractable two-part canopy is located directly above the stage. The ceiling holds 190 lights of various sizes to depict a starlit night sky.

The walls are white and many of them in fact are not walls, but touch panel-controlled hydraulic doors that can be used to modify the reverberation time for different applications. The Concert Hall itself has a volume of 17’823 cubic meters (about 630’000 cu. ft), the echo chambers (with doors in the open position) can increase the volume by an additional 6’189 m? (220’000 cu. ft) – about 1/3 of the hall’s volume! The echo chambers are treated by varying arrangements of absorbing curtains, providing a variable median reverberation time of between 2.0s and 2.8s. The walls (and/or doors,) are slightly convex and covered with a total of 24’000 custom designed gypsum relief elements. For reinforced events, the reliefs are covered by white curtains. Prior to an event, KKL Luzern’s technical team configures the room based on the parameters received from the conductor and, on their vast experience from past events. Further fine-tuning of the room’s variability is accomplished while rehearsing with a conductor. As Technical Director Tjark Kuhlmei explains, “We have conductors who know the room very well and want it set up exactly to their personal preferences. For example, Claudio Abbado knows precisely the slight change that can be achieved by varying the canopy height by 20cm to produce a subtle, yet more pronounced harp sound.”

The Requirements and The Solution

Dr. Dominik Isler, COO, reports: “The room acoustical quality of the KKL Luzern Concert Hall is on par with other world-class halls, so the main objective for the new sound reinforcement system was that we achieve the same high quality level in electroacoustical concerts as we do in classical events.”

In addition to extremely high quality acoustic requirements, further parameters had to be met. These include the ability to fully retract the loudspeaker system for non-reinforced events; eliminating the need for temporary placement of auxiliary loudspeakers for audience coverage; 360-degree coverage for spoken word events (also covering the area besides and behind the stage, including the balcony below the organ) and, a more accurate perception of directionality. Due to the complexity and logistics of the project, WSDG was mandated for a two-year project covering the consulting, planning, contractor selection, supervision of installation and calibration of the technical systems.

Dirk Noy, General Manager of WSDG’s Europe Office states: “A major issue of this hall is the wide distribution of seats on five vertical levels surrounding three of the four walls, and consequently, the coverage requirements of the electroacoustical sound system. The WSDG solution’s core idea was the realization that the KKL Luzern Concert Hall is mainly designed for acoustical sources that are placed directly on stage.” Consequently, the new main loudspeaker system is installed significantly lower and closer to the stage than the previously installed solution. The main system is supplemented by a distributed system whose elements are permanently installed but retractable by motors.

The project was divided into three phases: firstly the identification of the requirements, system planning and preparation of specifications, secondly the on-site evaluation of a total of three loudspeaker system candidates, and lastly the execution phase of installation planning, supervision and commissioning.

The preparation and specification in phase 1 and the on-site evaluation in phase 2 determined that d&b loudspeakers provided the optimum system both in the technical evaluation (acoustical measurements) as well as in the listening tests (consisting of questionnaires within a test audience of 20 persons with varying backgrounds). The procuring and installation assignment was awarded to auviso, one of Switzerland’s most significant system integrators, based in Lucerne.

The Sound System

The new sound reinforcement system consists of the Left Right main system with two line arrays of eight d&b V12 units each, suspended above the stage front edge, two additional line arrays for covering each of the balconies with five d&b V12 units, a stage edge in-fill system consisting of two d&b V-Sub and two d&b V12 units each on the right and left and a stage mounted front-fill provided by six d&b E6 units. For events requiring a 360-degree speech reproduction a retractable center cluster was provided with a front section (consisting of eleven d&b T10 units) and a rear section (consisting of three RCF VSA 2050 digitally controlled column loudspeakers).

The d&b V12 units have a nominal horizontal dispersion of 120-degrees; the vertical tilting is variable from 0 to 14 degrees. The passive 3-way units are equipped with two 10-inch low frequency drivers; a horn loaded 8-inch midrange driver and two 1.4-inch high frequency drivers mounted on a dedicated waveguide. The d&b V-Sub units hold a forward radiating 18-inch driver in a bass reflex enclosure and a rear-firing 12-inch driver in a two-chamber band pass enclosure. With this arrangement and the algorithms within the D12 amplifier a Cardioid dispersion characteristics with a significant attenuation of the energy radiation towards the stage can be achieved.

Amplification is provided by d&b D12 units that allow for precise tailoring to the installation parameters. “Beyond their sonic qualities we also really like the aesthetics of the new system, being an inconspicuous, slim line array,” Tjark Kuhlmei points out, “With the subs on stage, we can flexibly adjust the low frequency reproduction as required, or not use them at all, for example for pure speech events.” Signal transport from the Yamaha DME System DSP (digital signal processor) to the amplifiers is achieved via digital AES / EBU at a 96kHz sample rate.

All the line arrays are suspended and are equipped with their appropriate motor and cable winding mechanism. This allows the retraction of all loudspeaker arrays not required for a specific performance, to a parking position above the canopy.

Distinguished by its spectacular architecture and acoustics; its vast variable echo chambers and its unique Goll pipe organ, The KKL Luzern Concert Hall is an incomparable world-class venue. The new d&b V-Series sound reinforcement system, engineered, implemented and calibrated to the most demanding performance specifications, exceeds all quality requirements and significantly widens the hall’s usage profile. WSDG is exceptionally proud to have been associated with this important and artistically significant project.

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KKL Luzern Concert Hall photo captions

1. KKL Luzern Concert Hall Exterior photo by KKL Luzern
2. KKL Luzern Concert Hall Interior w. New System photo by KKL Luzern
3. KKL Luzern New Main System photo by KKL Luzern
4. KKL Luzern Simulation Screen Shot of SPL Sound Pressure Level Direct Sound. Image by WSDG

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

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AES E-Library Offers 14,000+ Fully Searchable PDF Files

Institutional And Individual Subscription Programs Now Available

NEW YORK: Audio Engineering Society Executive Director Bob Moses has announced new subscription formats to the AES E-Library. With over 14,000 fully searchable PDF files, the collection represents one of the world’s most comprehensive sources of definitive professional audio information. Documenting the progression of audio research and development from 1953 to the present day, the E-Library includes every paper published at each of the 133 AES Conventions and 49 international conferences, plus all papers published in the AES Journal. Engineering Briefs (eBriefs) recently introduced at conventions may also be accessed in the E-Library.

“The depth, range and authoritative nature of the professional audio subject matter amassed by the AES E-Library is unparalleled,” Moses says. “It provides a rich history of the evolution of audio technology, and carries all of the ideas, dialogue, and best practices forward from one generation to the next. This is really the crown jewel of the AES. It encompasses topics ranging from equipment design, to surround sound development, acoustic measurement, and hearing loss and protection.”

Additionally, the AES now offers an Open Access (OA) publishing option to its authors. OA papers in the E-Library are freely downloadable by anyone, including non-AES members and non-E-Library subscribers. The first OA offering is by Alex Case, “Recording Electric Guitar-The Science and the Myth.”

AES E-Library Subscriptions are available in two formats:

* Individual Subscriptions are $145 per year for AES members and $255 per year for non-members. This subscription provides downloads of any document in the E-Library at no additional cost.

* Institutional E-Library Subscriptions to universities, companies, and libraries are $1800 per year. This subscription provides all institution members with free downloads of any document in the E-Library.

* Individuals may download specific papers without an E-Library subscription, at a cost of $5 per paper for AES members and $20 per paper for non-members.

“AES Journal and Convention Program contributors are among the industry’s finest practitioners and scientific minds. Educators, students, researchers, product designers, manufacturers and historians may now track virtually every meaningful technological development introduced by our industry over the past 60+ years. They will discover extensive research and detailed findings on many fascinating subjects,” Moses concludes.

Photo: AES E-Library logo

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

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Bob Skye Joins WSDG As West Coast Rep/Project Engineer

New Role For Electro/Acoustics Innovator / Recording Engineer

SAN FRANCISCO: Bob Skye, a leader in electro/acoustic design, recording studio construction and, a Grammy-winning engineer with Gold and Platinum credits, has joined the Walters-Storyk Design Group. As WSDG’s west coast rep and project engineer, Skye will shoulder a host of responsibilities ranging from new client development and overall business management to hands-on project design and construction supervision.

“Our business plan is focused on providing exemplary client services as we expand our operation in the U.S. South America and abroad,” says WSDG Director of New Business Development, Sergio Molho. “The secret ingredient is talent, and Bob Skye is one of the most accomplished designer/builders in our field. We are extremely optimistic about our growing West Coast office; Adding one of California’s premiere acoustic gurus to our team emphasizes the level of our commitment to this market. And, Bob’s presence will enable our long-term SF associate Jack Leahy to focus on other WSDG assignments.”

Robert “Bob” Skye founded Skyelabs Inc. in 1975 as a mobile recording/acoustical/audio system design firm. From 1986 to 1993 he owned and operated the legendary Plant Recording Studios. His electro/acoustic design skills have contributed to the success of numerous nightclub, live theater, cinema, recording studio, large venue, corporate and live broadcast clients. His CV is highlighted by work for ABC TV, NBC TV NFL Films, the San Francisco Opera, Russian National Orchestra, Hong Kong Stadium, The Lear Theater (Reno, NV) Talking House Recording (SF) and numerous clubs including SF’s DNA Lounge, Whispers, Club Mercury and Blondie’s.

“Having worked on numerous WSDG projects, I have an abiding respect for John Storyk, Beth Walters and the entire WSDG team,” Bob Skye remarked. “We share a philosophy based on a commitment to excellence. I look forward to this new chapter in my life with genuine enthusiasm.”

“Bob Skye is one of our industry’s most multi-faceted, go-to guys,” WSDG co-principal John Storyk remarked. “We have collaborated with him, bid jobs against him, and over the past 35 years we’ve grown to respect the impressive range of his expertise. He not only does it all, he does it all well. We are delighted to welcome him aboard.”

Photo: Bob Skye has joined WSDG as west coast rep/project supervisor.

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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, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona and Mexico City

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Nashville Audio Week Slated For May 14 & 15


New Dates For 4th Annual Nashville Recording Workshop + Expo 2013 –

Sugarland’s Kristian Bush Locked For Keynote

NASHVILLE: Rescheduled for “Audio Week” in Nashville, the Nashville Recording Workshop + Expo will take place May 14th and 15th, at the Rocketown Event Center. “Attendees and exhibitors have been enthusiastic about the new timing for NRW+E 2013,” comments event chair Jim Kaiser, now to immediately precede the AudioMasters Benefit Golf Tournament. “Many already participate in the AudioMasters, and had participated in Mix Nashville, which previously occupied the time slot. Tying AES Nashville’s events together in the same week will maximize these visitors’ time in town. We look forward to working with all of our presenters, exhibitors and sponsors, to make this the best-ever event in the Nashville Recording Workshop series.”

Presented by the AES Nashville Section in conjunction with the AES and designed to share the expertise of audio pros with home studio owners, musicians, songwriters, producers and engineers. NRW+E 2013 will feature presentations by top industry pros; exhibits by leading audio gear manufacturers and, an opening night reception.

The AudioMasters (www.theaudiomasters.org), now in its 16th year, is also hosted by AES Nashville, bringing audio engineers and manufacturers to Music City for a good time on the golf course, and more importantly, to raise funds for the Nashville Engineer Relief Fund-a non-profit corporation begun by AES Nashville to lend assistance to area audio pros in times of crisis and need.

“We started Mix Nashville five years ago to bring a professional audio event to a town that eats, sleeps and breathes music,” says Tom Kenny, editor of Mix magazine. “We had a good run, and we were proud to partner with the AES Nashville Engineer Relief Fund golf tournament in what became a true Audio Week in Nashville. Now, we are equally proud to lend support to the AES Nashville Section’s Nashville Recording Workshop + Expo, as it continues to grow as a one-of-a-kind audio event.”

“Last year’s NRW+E truly jelled,” Kaiser adds. “The insights detailed in the Production, Engineering and Songwriting/Publishing tracks provided ample learning opportunities for every attendee, whatever their primary interests. Our special focus on live presentations, including in-depth, project profiles by Keb Mo and Beth Neilsen Chapman, was particularly well received. Rocketown proved itself an outstanding venue, and our attendees were informed, entertained and inspired.” Kristian Bush, one-half of the award-winning super-duo, Sugarland, will present the keynote address to launch NRW + E 2013 on May 14th. The full program schedule for NRW+E 2013 is available online.

“Music is always in the air in Nashville,” Jim Kaiser concludes. “But the town is particularly beautiful in May, and spring will be in the air as well. We have discounts and early-bird rates for students and members of many professional organizations, so adjust your calendars accordingly.”

Program details, registration information and exhibition/sponsorship details for NRW+E are posted at: www.nashvillerecordingworkshop.com.

Photo: The 4th Annual Nashville Recording Workshop is set for the Rocketown Event Center, May 14 & 15, 2013

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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 Incubating New Audio Standards for Sound Systems in Rooms

AES Standards Committee Forms SC-04-08 Working Group

NEW YORK: Bruce Olson, chair of the AES Standards Committee has announced the creation of a new standards working group, SC-04-08, on Measurement and Equalization of Sound Systems in Rooms. Olson has also named Ben Kok – an experienced acoustic consultant from the Netherlands – the working group chairman. The group will draw from expertise already contributing to AES Standards and invites participation from other interested experts.

Two newly initiated projects have been assigned to this group, developed from an initial proposal presented by the AES Technical Committee on Sound for Digital Cinema and Television, chaired by Brian McCarty. They are:

AES-X218: Measurement and Calibration of Sound Systems in Rooms
Intended to document parameters affecting the audience experience of a sound system in a generalized room, and identify appropriate objective methods of measurements to quantify them. The intent is to identify tools and procedures to measure the performance of a loudspeaker system in a room, and support accurate, reliable calibration of this system to a specified performance. The findings of the working group will be published in an AES Standards Information Document.

The rationale for this project considers that the measurement of sound systems in rooms, including but not limited to cinema B-chains, currently relies on empirical measurement techniques developed in the 1970s. Modern methods and equipment should offer simpler and more accurate ways to calibrate rooms with greater precision. This project will review the parameters that affect the audience experience in these rooms, and the objective methods of measurement necessary to quantify them. This will provide a basis for more detailed standardization for measurements and calibration protocols for controllable parameters.

AES-X219: Method of measurement for frequency and impulse response of sound systems in auditoria
This project is to specify a method of measurement for frequency and impulse response of sound systems in auditoria. The project is intended to produce a Standard, and the development discussions are expected to draw on modern measurement techniques.

The audience experience of sound reproduced through loudspeakers in an auditorium can vary greatly. In many applications where sound is reproduced in auditoria, a predictable performance is valued. While a number of different electro-acoustic and acoustic parameters contribute to this experience, a standard method of measuring the frequency and impulse response of the sound as presented to the audience by a loudspeaker system will be a necessary part of any more general solution.

The first face-to-face meeting of working group SC-04-08 will be held at the 134th AES Convention in Rome May 4-7, 2013.

Photo: Bruce Olson, chair of the AES Standards Committee

More information on the projects:

http://www.aes.org/standards/meetings/new-projects.cfm

More information on AES Standards

http://www.aes.org/standards/

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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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