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Archive by Howard Sherman

Multi-Platinum Engineer Young Guru Profiled In AES Convention Doc

NEW YORK: Multi-Platinum engineer/producer Young Guru was highly visible at the recent 133rd AES Convention in San Francisco. In addition to participating in the SRO Platinum Producers/Engineers Panel with super hit makers Jack Douglas (John Lennon, Guns N’ Roses) and Narada Michael Walden (Aretha Franklin, Whitney Houston), he also made an impressive presentation at the Convention’s highly successful Project Studio Expo.

A prolific producer/engineer/A&R wizard, Young Guru has amassed credits for more than a dozen Platinum hip hop classics including Jay-Z’s The Black Album, Life & Times of S. Carter, and The Blueprint; Kanye West’s The College Dropout; Ghostface Killah’s FishScale; Nellyville, Drake’s Thank Me Later and Beyonce’s Crazy In Love. In 2011 he was a Grammy nominee for his work on the Alicia Keys/Jay-Z Empire State of Mind smash hit.

A highlight clip of Young Guru’s AES Convention experience may be viewed at:

http://www.aes.org/blog/2013/2/young-guru

With over a decade of Grammy-winning projects for Roc-A-Fella and Def Jam Recordings, Young Guru is committed to sharing his knowledge, and experience. He lectures extensively, and has established the Young Guru Scholarship Fund for students pursuing careers in Communications, Audio Engineering, Music Education and Music Business.

Photo: Young Guru at 133rd AES Convention

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About Young Guru Revered as “The Sound of New York,” Young Guru has over a decade of experience in sound engineering, production, and A&R for the acclaimed Roc-A-Fella Records and Def Jam Recordings. Most recognized for shaping some of the biggest talent in hip hop, he has mixed 10 of Jay-Z’s 11 albums, and officially became Jay-Z’s tour DJ in 2010. For more information on Young Guru visit: www.djyoungguru.com

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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Brazil’s WSDG Scores Three Simultaneous Soccer Stadium Hits

Prepping For 2014 World Cup AND 2016 Olympic Opening & Closing Events!

BELO HORIZONTE, BRAZIL: As soccer enthusiasm continues to sweep the globe, venerable stadiums are undergoing substantial upgrades to keep pace with 21st Century fan expectations. Renato Cipriano, Partner/GM, Walters-Storyk Design Group/ Brazil, reports the WSDG international team has completed work on the Mineirão Stadium renovation and remains actively involved with a second major stadium renovation project in Belo Horizonte, and a third in Rio de Janeiro.

The second largest sports arena in Brazil, the 62,160 seat Mineirão Stadium was originally built in 1965. When Belo Horizonte was named one of 12 cities to host the 2014 World Cup, the state government considered the event a landmark in the city’s development, one expected to generate benefits long after the World Cup is history. Officials immediately recognized the need for a significant Audio/Video and acoustics upgrade to enable the 45-year-old complex to comply with FIFA technical requirements.

“Coordinating three large-scale arena projects simultaneously is an Olympic-level challenge in its own right,” Cipriano explains. “Fortunately WSDG’s global offices have extensive experience in multi-task collaboration. Our U.S. and European teammates assisted us in providing accurate technical, acoustic, aesthetic and technological recommendations for all three stadiums in a timely and cost-effective manner.”

WSDG was retained to design the Acoustic Program and complete Audio and Video Systems for the entire stadium including all public areas, a total of 300.000 square meters (3,000,000 sq. ft). Mission specs encompass: Inclusive acoustical treatments, a comprehensive sound system, serving the soccer field, audience and, internal spaces such as VIP rooms, access areas, and offices; Video systems, including two large LED video walls (85 square meter/915 sq. ft.) each; Video displays throughout the stadium; And, fully integrated Audio and Video Control Rooms

“Our primary facility management concerns focused on the level of sound comfort and intelligibility in relation to the RT60 reverberation time required to meet stipulated FIFA STI mandates,” Cipriano says. “Our sophisticated simulation programs enabled us to assess and ‘auralize’ the entire complex. We identified extensive sound reflections throughout the arena and concluded that acoustical absorption be installed at the inner ring of the audience sector to achieve the required STI values. Speaker positioning was defined for the internal and external areas, and for numerous zoning maps, which can now be individually controlled for increased flexibility and security purposes. All specific audio and video systems, and control room speaker selections, were designed to meet FIFA requirements. Additionally, we recommended incorporating a Video Wall instead of a traditional scoreboard,” he adds.

Simultaneous to this extensive Mineirão assignment, WSDG Brazil is coordinating equally ambitious Audio and Video upgrades for Brazil’s largest sports venue, the Maracanã Stadium in Rio de Janeiro, which hosted 250 thousand fans for a KISS concert in 1983; And, for Independencia, a 25,000 seat arena built in Belo Horizonte in 1950. All three stadiums will host events for the 2014 World Cup. And, the Maracanã will also host the opening and closing events of the 2016 Olympics.

“We are extremely pleased to have been invited to lend our expertise to three formidable Brazilian stadium projects. The Mineirão Stadium opened officially on Dec. 21, 2012 with a concert performed by Brazilian Supergroup, Jota Quest, attended by Brazil’s president Dilam Rousseff. The first soccer game will be played there in February.

“Our ability to share the expertise of our associates in our European and U.S. offices enabled us to provide precise testing, exacting presentation drawings and meticulous system integration plans in an extremely efficient, and cost-effective manner,” Cipriano concludes.

Images:

1. Mineirão Stadium in Belo Horizonte, Brazil, Photo by Alberto Andri
2. Rendering, the Mineirão Stadium in Belo Horizonte, Brazil is receiving a complete audio/video and acoustical upgrade coordinated by WSDG
3. Mineirão Stadium in Belo Horizonte, Brazil, Photo by Alberto Andri
4. Rendering, the Maracanã Stadium in Rio de Janeiro will be completely renovated by 2014, in time for the World Cup. WSDG is coordinating the audio/video and acoustical upgrade for this project.
5. Rendering, Independencia, a 25,000-seat arena currently being renovated in Belo Horizonte, Brazil. WSDG is coordinating the complete acoustic, audio and video upgrade.

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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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Berklee Opens World-Class Recording/Teaching Studio Complex At New Valencia International Campus

VALENCIA: December 17, 2012 – Berklee College of Music, the world’s premier learning lab for contemporary music, and Walters-Storyk Design Group, renowned for their work on studios for Jimi Hendrix, Alicia Keys, and Bruce Springsteen, today announced the completion of a cutting edge recording/teaching complex at Berklee’s Valencia campus. Berklee’s new state-of-the-art campus is located at the Palau de les Arts Reina Sofia in Valencia, Spain. The studio facility is the final element of Berklee’s first international campus, which recently launched its master’s programs.

The audio production and teaching complex is comprised of five inter-related components. The 1600 sq. ft. scoring stage/studio – Studio K – includes an 860 sq. ft. live room with 15-foot ceilings and boasts variable acoustic wall treatments developed for diverse recording configurations. The studio’s windows provide fantastic views of the Palau and allow the public to view Berklee’s music activities. Supporting the live room is a 500 sq. ft. control room, two 250 sq. ft. ISO/overdub booths, and an isolated machine room. The aggregate advantages of the control room configuration fully supports Berklee’s primary teaching mandate. Each aspect of the studio coalesces to form an indisputably world-class recording complex.

“Our master’s students and visiting artists will benefit from an extremely sophisticated studio environment. This is an extraordinary educational tool, expressly designed to prepare them for their transition from student to music professional,” explained Guillermo Cisneros, Berklee Vice President for Global Initiatives, and Executive Director, Berklee in Valencia.

“The studio complex needed to make a statement in a design-conscious country, and be technically and acoustically capable of representing a desirable destination for professional work,” said Carl Beatty, Berklee Chief of Staff, who has headed the project since the beginning of the Palau de les Arts renovation. “We decided to employ Avid/Euphonix controllers to take advantage of their Eucon protocol that allows seamless migration of projects across the facility, all the way up to the flagship System 5. Additionally, when we install an identical console in Boston, we will be doing real time joint sessions between the two locations via Internet 2 technology.”

The entire facility is configured through a central machine room for speed, ease of turnaround, and high interconnectivity between rooms, including the Palau de les Arts’ concert halls. The System 5 has 48 channels, with 128 channels of I/O, and 176 mic lines. There is a broad selection of analog processing with plenty of room for additions should the need arise.

Monitoring in the production suites is all Genelec – 5.1 surround in Studio A, and 2.1 stereo in Studios B, C, and D. The control room in Studio K features the Meyers Acheron 7.1 surround monitoring system, an acknowledged industry standard. The room also includes Griffin G2B Active main stereo monitors. “These monitors are impressive. Along with their dual 15″ subwoofers, the use of ribbon tweeters gives the speaker a very impressive transient response and high-mid articulation,” said Beatty. “There are also mid field monitors available- ProAc’s and Yamaha NS-10′s. Additionally, the room has been designed to Dolby specifications and readied for the new Dolby Atmos(tm) Cinema Sound monitoring protocol. This facility is an integral component of the comprehensive, modern Music Technology Complex developed for Berklee’s Valencia campus.”

Commenting on the new complex, architect/acoustician John Storyk remarked: “Berklee’s new Valencia recording/teaching studio raises the benchmark for European audio education. We have been the designers for dozens of educational recording environments around the world and are incredibly proud of our tenure at Berklee, both at the Valencia and Boston campuses.”

Impressed by the quality of the recording studio at the Berklee campus, visiting master class instructor and former Fox Music President, Robert Kraft commented, “The recording studio is an amazing asset to have in Valencia, and has the potential to be even more of a reason for students and professionals to come to the Berklee facilities.”

“The recording studios and production suites at Berklee Valencia are simply sublime,” said composer and visiting professor, Laura Karpman. “In the studios I was able to compose, record, and mix a film for Sony/Lifetime with a very fast turnaround. The results were fabulous. It was a pleasure to make music there.”

In addition to designing and constructing recording studios for Berklee College of Music in both Valencia and the $100 million + new building at 160 Massachusetts Ave. in Boston, Walters-Storyk Design Group is renowned for its work on studios for Bruce Springsteen, Celine Dion, Def Jam Records, ESPN, Jay-Z, Jazz at Lincoln Center, MTV Latin America and the 2012 TEC Award-winning Jungle City Studios.

View the YouTube video tour of the studios:

Photo Captions:

1. Berklee Valencia Studio K Live Room
2. Berklee Valencia Studio K Control Room
3. Berklee Valencia Studio A Control Room
4. Berklee Valencia Campus

Photos by: Mercedes Herrán

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About Berklee College of Music:

Berklee College of Music was founded in 1945 and for more than 65 years has evolved to reflect the state of the art of music and the music business. The college’s belief i that the best way to prepare students for careers in music is through contemporary music education. The college was the first in the U.S. to teach jazz, the popular music of the time. It incorporated rock ‘n roll in the 1960′s, created the world’s first degree programs in film scoring, music synthesis, and song-writing, and, in recent years, added world music, hip-hop, electronica and vide game music to its curriculum. With a diverse student body representing over 80 countries, and alumni that have received over 270 Grammy and Latin Grammy Awards, Berklee is the world’s premier learning lab for the music of today – and tomorrow. Notable alumni include Quincy Jones, Diana Krall, Branford Marsalis, Aimee Mann, Roy Hargrove, Gillian Welch, Miguel Zenon, Susan Tedeschi, John Scofield, Bruce Cockburn, Arif Mardin, BT, Alan Silvestri, John Mayer, Howard Shore and Gary Burton.

About Berklee In Valencia:

Berklee in Valencia is the first international campus established by the renowned Berklee College of Music – and its first campus outside of Boston. Located in the iconic building of the Palau de les Arts Reina Sofia in Valencia, Spain, the magnificent 3,600 square metre campus has been designed specifically for music and is equipped with state-of-the art technology. Berklee in Valencia aims to provide a hub to launch the careers across the globe for the most musically talented international students. Offering a unique curriculum, as well as an International Career Center to assist students in their transition from student to music professional, the campus presents Berklee College of Music’s first master’s degree programs in contemporary music (Scoring for Film, Television and Video Games; Contemporary Studio Performance; and Global Entertainment and Music Business;) launched in September 2012. In addition, Berklee in Valencia offers a Global Studies Program for Berklee students from Boston to study for a term at Valencia, Summer and Special Programs, as well as a new way for musicians around the world to join the global music community – as performers, as practitioners, and as leaders.

About Walters-Storyk Design Group:

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 U.S. 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, Acrosmith, 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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Sugarland’s Kristian Bush to Keynote 4th Annual Nahville Recording Workshop + Expo 2013

NASHVILLE: Kristian Bush, one-half of the award-winning super-duo, Sugarland, will deliver the keynote address to kick off the 4th annual Nashville Recording Workshop + Expo. NRW+E 2013 returns to the Rocketown Event Center in downtown Nashville, February 15 & 16.

A singer, songwriter, producer, multi-instrumentalist and personal studio owner, Bush joins a prestigious list of artists including: Ricky Skaggs, Ben Folds and Keb Mo, who have who have set the tone for previous NRW+E events by highlighting the role of technology in the creative process. Joining Bush for an aural romp through the stages of a recent production will be his long-time collaborator, producer/engineer, Tom Tapley.

NRW+E is designed to share the expertise of audio pros with home studio owners, be they musicians, songwriters, producers or engineers. The event will feature showcase presentations by top industry professionals; exhibits by many leading audio gear manufacturers and, an opening evening reception. The Nashville Recording Workshop + Expo 2013 is presented by the AES Nashville Section in conjunction with the Audio Engineering Society.

“The highly successful Project Studio Expo introduced at the recent 133rd AES Convention in SF, was modeled in no small part on NRW+E,” said event Chair, Jim Kaiser. “Last year the program formula truly jelled. The balance of information in the three tracks: Production, Engineering and Songwriting/Publishing, offered ample learning opportunities for every attendee, regardless of their primary interests. Our special focus on live presentations, including in-depth, end-of-day project profiles by Keb Mo and Beth Neilsen Chapman, was particularly well received. Rocketown proved an excellent venue, and all our attendees were informed, entertained and inspired,” Kaiser adds.

Industry notables who have presented at previous NRW+Es include: George Massenburg, Russ Long, Nathan Chapman, Glenn Meadows, Rich Adler and Lynn Fuston. This year’s program is being developed now, and program updates will soon be online. Registration information and exhibition/sponsorship details for this very affordable event can be found online at www.nashvillerecordingworkshop.com.

“Discounts and early-bird rates are available for students and members of a number of professional organizations. An NRW+E registration is the perfect holiday gift for the recordist on your list,” Kaiser concludes.

Photo: Kristian Bush of Sugarland, is keynote speaker for the Nashville Recording Workshop + Expo, Feb. 15

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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 Signals 2nd Annual ‘Black Friday’ Sale

50% Discount On Elite, Essential and Enhance Plug-in Bundles

OXFORD UK: Continuing their support of the spirit of Thanksgiving shopping bargains, Sonnox has re-introduced their irresistible “Black Friday Sale.” As a nod to America’s massive Thanksgiving holiday discounts, beginning at 12:01 PST on Thursday, Nov. 22nd, 2012, and continuing until 11.59 pm PST Friday, Nov. 23rd, plug-in shoppers will enjoy 50% Off List Price on the following bundles (Native or TDM):

* Sonnox Elite, Sonnox Essential, Sonnox Enhance

For more details and to take advantage of the Sonnox Black Friday Sale, visit: http://bit.ly/BLFR50

Photo: The Sonnox Elite bundle includes: the Oxford TransMod,Inflator, Dynamics, SuprEsser, EQ, Reverb and Limiter Plug-ins

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

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133rd AES Convention Rocks San Francisco

Hurricane Sandy Dampens Turnout but not Enthusiasm at Industry’s Premier Pro Audio Event

SAN FRANCISCO: The 133rd AES Convention at the Moscone Center was distinguished by a remarkably diverse program. In the face of an epic storm that gripped the nation and disrupted countless travel plans, thousands of conventioneers experienced an exhibition hall filled with new and exciting products and, a four-day program of scientific presentations and training events designed to hone their skills in an industry changing at the speed of sound.

From the revelatory anecdotes of multi-Platinum keynote speaker Steve Lillywhite (U2, Dave Mathews Band, Rolling Stones, The Killers), to the inspirational personal histories and career highpoints of legendary Platinum engineer/producers Jack Douglas (John Lennon), Narada Michael Walden (Whitney Houston) and Young Guru (Jay-Z, Kanye West, Beyonce); to an original live audio production, “Poe – A Life And Stories In Sound,” featuring Firesign Theater/Disney film voiceover star Phil Proctor; a packed screening of the “Wrecking Crew” documentary; AND, the debut of the highly acclaimed Project Studio Expo (see separate release), the 133rd AES Convention was an unqualified success.

“In the months leading up to the show we had strong pre-registration numbers and were on target for at least 14,000 people,” reports AES Executive Director Bob Moses. “The Exhibition Hall was packed on Saturday, but Hurricane Sandy took a lot of wind out of our sails. People fled for the airport on Sunday and Monday as flights were canceled around the country. In the end, some 11,000 attendees turned out, reflecting strong pre-registration but disappointing onsite sales. On the bright side, we were very happy with attendance in the inaugural Project Studio Expo – 1,680 people, nearly double what we anticipated.”

Despite the lower than anticipated turnout, many of the 296 exhibitors and sponsors offered positive perspectives on their Convention experience:

“M-Audio and Akai Professional’s Platinum Sponsorship of this year’s AES gave us the valuable opportunity to be a part of how AES itself is evolving. We appreciate the direction AES is headed, particularly with its healthy focus on project studios and the Project Studio Expo,” said Lee Cwiek, Tradeshow and Events Manager, inMusic Brands

“This year’s AES was extraordinarily exciting for Sennheiser,” remarked Joe Ciaudelli, Director, Advanced Projects & Engineering Services, “We debuted our Digital 9000 wireless system. Our Recording Sound Academy round table drew an SRO crowd. And, we introduced our Neumann KH 310 reference monitors at the NARAS Skywalker Sound event.”

“We were happy to find that DPA Microphones made a big splash at AES this
year thanks to the Yamaha/ResInno Grand Rossa piano and DPA hearing stations that were on display. We were frequently complimented for the open design of our booth, and for the inviting sound of the piano music,” reports, Eric Mayer, President of U.S. Operations, DPA Microphones

“Our booth position directly adjoining the Project Studio Expo was a blessing in disguise,” remarked Sonnox Sales & Marketing Manager, Nathan Eames. “We were initially concerned about potentially distracting noise, but were delighted to see the entire audience outfitted with wireless headphones. Other than occasional bursts of applause, there was there barely a sound from the Expo. And too, our proximity may have increased our booth traffic.”

“AES provided us with an excellent platform to engage our customers and the media. It was definitely a worthwhile show and we look forward to showcasing our new products and technology in the future!” Josh Rosen Account Coordinator, Fairlight

Support from the business community extended beyond the exhibition floor, as a number of sponsors supported tracks of events in the technical program. THAT Corporation and Audio Precision returned as co-sponsors of the Product Design Track, as did Dolby as long-time sponsor of the Broadcast and Streaming Track. Renkus Heinz sponsored the Live Sound Track, and Presonus, AVID, Lynda.com, and Sennheiser sponsored the Project Studio Expo. Perhaps most notably, inMusic brands M-Audio and Akai Professional served as Convention Platinum Sponsors, and were instrumental in bringing Young Guru to the event. “I deeply appreciate the moral and financial support these companies provided,” stated Moses. “I’m very firm in my commitment to serve businesses. The creative ways in which we were able to work together to make this event special for these companies and their customers is a sign of the future.”

The Exhibition is just one component of the AES convention, paralleling four days of events in the technical program. This year’s show provided a dizzying array of scientific paper presentations, workshops, tutorials, technical tours, platinum producer/engineer/ artist panels, special events, standards meetings, and Technical Committee forums on the latest trends in the audio business.

“Our outstanding convention committee, led by Co-Chairs, Jim McTigue and Valery Tyler worked tirelessly to produce an exemplary event. These folks contributed an incredible amount of time and energy while simultaneously juggling day job and personal obligations,” Moses said. “Their deep knowledge and experience, service to community, and deft skill in making all this happen smoothly should be appreciated by all who came and enjoyed this great event. “The entire Committee deserves a huge shout out,” he adds: “they are true San Francisco Giants!

“And kudos too, to the AES headquarters team: Deputy Director, Roger Furness; Director, Convention Management, Chris Plunkett; Publications Managing Editor William McQuaide, Senior Editor Mary Ellen IIich, Membership Director, Lori Jackson; Business Development Manager, Steven Green; and Chief Information Officer, Steve Johnson worked crazy hours to support this herculean effort,” Moses concludes. “I’m very grateful to the contributions everyone made as we pursue our mandate to the audio community to listen, learn and connect.”

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Photo Captions:

1. 133rd AES Convention Opening Day crowds fill the Exhibition Hall 2. Young Guru meets fans after Platinum Producer/Engineer Panel 3. The 133rd AES Convention Committee’s all star-line up (L-R) Volunteers Co-Chair, Evan Peebles, Papers Co-Chair Alan Seefeldt, Director/Convention Management Chris Plunkett, Papers Co-Chair Veronique Larcher, Tech Tours Chair Jessica Livingston, Workshops Co-Chair Jeffrey McKnight, Convention Co-Chair Valerie Tyler, Special Events Chair Christopher Smith, Workshops Co-Chair David Bowles, Historical Chair Bill Wray, Live Sound Chair Michael “Bink” Knowles, Convention Co-Chair Jim McTigue, AES Business Development Manager Steven Green, AES Deputy Director, Roger Furness, A/V consultant Dave Molnar, AES Executive Director Bob Moses and Facilities Chair, Bob Megantz. Not pictured are: Broadcast/Streaming Chair David Bialik, Education Co-Chairs John Krivit and Ezequiel Morfi, Game Audio Chair, Steve Martz, Master Classes/Tutorials Co-Chairs, Mike Wells and Jose “Vene” Garcia, Networked Audio Chair, Nathan Brock, Sound For Pictures Chair, Brian McCarty, Product Design Chair, Conrad Cooke, Volunteers Co-Chair, Michael McConnell and, AES Chief Information Officer Steve Johnson.

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 Project Studio EXPO Ushers In New Era Of Audio Training

Nearly 2,000 Listen, Learn, And Connect With Industry Leaders During Two Days Of Practical Recording Clinics

SAN FRANCISCO: Attended by nearly two thousand visitors, the Project Studio Expo at the 133rd AES Convention proved itself a compelling new addition to the venerable pro audio show. Created in partnership with Sound On Sound Magazine, the two-day event was a “show within a show.” Presentations included practical clinics, authoritative Q&A’s,in-depth dialogues focused on emerging recording techniques, workflow, technology innovations, and, invaluable advice on best practices from leaders in the field.

“I was really impressed with the PSE. As in, REALLY impressed,” enthused Electronic Musician, Executive Editor, Craig Anderton. “I can’t believe how well the concept was realized. I gave it an Anderton Award for my November Pro Sound News column. The Home Run At The First At-Bat Award, along with some serious kudos, went to the AES Project Studio Expo track. Lots of seminars, standing-room only crowds, wireless headphones for best fidelity and no ambient noise, enthusiastic attendees . . . AES has discovered its fountain of youth,”

One highlight of the Project Studio Expo was an illuminating address by multi-Platinum engineer/producer Young Guru (Jay-Z, Kanye West, etc.) about the origins of hip hop and insights into his role as a producer/engineer and… psychologist to bring the best performance out of superstar artists. Other presentations covered small room acoustics, microphone techniques, tracking, mixing, editing, mastering, performance, and use of mobile devices such as the iPad in music production.

“The Project Studio Expo represents a new direction for the AES, in bringing high profile audio community leaders directly to end-users for training and mentorship,” AES Executive Director Bob Moses explained. “We realized that our conventions bring together luminaries in the field to share all the advanced technologies and techniques, but one very important group was being neglected – the folks working in small studios grinding out music, commercial jingles, etc., on a daily basis,” AES convention exhibitors and sponsors want to see lots of customers. For every platinum producer/engineer we showcase, there are thousands of audio professionals doing good work, but needing support and training to improve their craft. The Project Studio Expo is our way of serving them. AES is an incredible educational resource, and we want to make it available to everyone.”

A collective of senior editors from major trade publications enthusiastically endorsed the Project Studio Expo in advance of the show and appeared together in a panel at the event, including: Paul White (SOS), Gino Robair (EM), Frank Wells (PSN), Mike Metlay (Recording), Strother Bullins (PAR), Larry Crane (Tape Op) and Tom Kenny (MIX). “This support is extremely important and validating as we refocus AES on the critical mass of the audio field,” stated Moses. “I deeply appreciate the fact that everyone realizes our joint efforts will float all the boats in the industry for universal benefit. An educated industry is good for everyone – magazines, manufacturers, engineers, and even the people who buy music!

“I also want to offer a special thank you to our sponsors: M-Audio, Akai Professional, Presonus, AVID, Lynda.com, and Sennheiser for taking a risk on something new, and supporting this event,” said Moses.”And of course, Sound On Sound was a very strong partner in putting it together. We couldn’t have pulled it off without them.”

A follow up event is already in the planning stage for the 134th AES Convention in Rome, and the 135th AES Convention set for NYC’s Javits Center Oct. 17-20, 2013. “We would be crazy not to keep this going,” Moses concludes. “In fact, the upcoming Nashville Recording Workshop Feb 15-16, 2013 is pretty much the same event but with a different name. Look for a lot of practical training at future AES events. This is the wave of the future.”

Photos:

1. SRO Crowds jam AES Project Studio Expo
2. PSE Editors Panel (l-t-r) Mike Metlay (Recording), Frank Wells (PSN), Paul White (SOS), Strother Bullins (PAR), Larry Crane (Tape Op) and Tom Kenny (MIX) Not pictured, Gino Robair (EM)
3. Craig Anderton and Young Guru

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About the AES 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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Westchester County Center – Revitalized Acoustics Draw Stars — And Crowds

Première Artists Bring Good Vibrations To Classic Venue

WHITE PLAINS, NY: An entrepreneur with a wide range of music business interests, Irwin Kornfeld has sparked new awareness for the eighty-year-old Westchester County Center. An adroit upgrade of the facility’s acoustics, coupled with a state of the art sound system, has landed the WCC and its new “Pepe Infiniti Concert Series” on the radar of booking agents and performing artists seeking viable venues for tri-state concert dates. The series’ launch featured The Beach Boys in concert in mid-May, nearly fifty years after their first WCC gig. The Johnny Winter Band and Edgar Winter Group, Boston, Il Volo, Whoopie Goldberg, Aretha Franklin and others are booked through November.

A long-time Pleasantville resident, Kornfeld recognized the need for a larger local performance venue. But, having seen shows at the WCC years ago, he knew the County Center couldn’t attract discriminating artists (or audiences) until the acoustics and sound system were improved. “I approached the County with a carefully considered proposal,” he says. “Our company, Westchester Media, Inc. would help improve the County Center’s acoustics, and in return have a wonderful venue in which to present premier entertainment,” he said.

Kornfeld’s next move was to contact the Walters-Storyk Design Group, a NY-based architectural/acoustic design firm whose credits range from Jazz At Lincoln Center to such top NY clubs as Le Poisson Rouge and the just completed 54 Below. “A few years ago I read an interview with WSDG principal John Storyk in In Tune Monthly, a music education magazine we publish,” Kornfeld says. “In addition to their high profile performance venue credits, WSDG has created recording studios for stars ranging from Jimi Hendrix to Alicia Keys. We were delighted when WSDG agreed to take on the Westchester County Center. After partner/project manager Joshua Morris provided us with their analysis and recommendations, we knew we could make this venue work for concerts and theatrical productions.”

The WSDG proposal addressed a number of significant sound distortion problems, including poor intelligibility and a lack of acoustic accuracy. “The Westchester County Center had some acoustic work done in 1988, but the critical listening issues weren’t adequately addressed,” Joshua Morris reports. “Our modeling and measurement tests determined the problems could be ameliorated through a combination of electro-acoustic solutions. The 57′ high curved ceiling and the truss cavity beneath needed to be treated with a total of 1,120 2′x4′ 4″ thick perforated PVC lapendary panels, providing almost 9,000 sq. ft. of broadband absorption. QuietStar Industries suspended these units from the ceiling with cables, which have greatly improved upon the existing ceiling reflector treatments that remained from the 1988 acoustic effort, reducing our reverberation time, especially in the lower frequencies, to manageable levels.”

WSDG also recommended that 270 sq. ft. of Rosebrand Charisma velour curtains be hung on strategic sections of the balcony edge. Additionally, WSDG worked with pro audio expert Chuck Ballantine of Pleasant Valley-based, Ballantine Communications & Staging to select an package of 11 ElectroVoice subwoofer rows, two vertical stacks of four subwoofers each, and stereo line arrays to assure the best conceivable audio system for the WCC. “We’ve worked with WSDG on other projects, and I’ve worked shows in the WCC for years, so we were very familiar with the venue,” Ballantine says. “ElectroVoice has a solid, product line and an excellent support team. This new sound system, coupled with WSDG’s acoustic treatments makes the WCC a extremely viable performance option.”

“We’ve been monitoring shifts in live performance trends, and felt the WCC had enormous potential for artists capable of filling halls with between three and five thousand seats,” Kornfeld said. “Acts fall into three basic booking categories: Those who can fill a 200-300 seat club, megastars who can sell-out 35,000+ seat stadiums, and performers who can draw fans to convenient, competitively priced shows in mid-sized venues that offer great sound, a sense of intimacy and a clear site-line. There are only a handful of halls that meet those specs in New York, New Jersey and Connecticut,” he adds. “The County Center sounds great now. Fans that have been attending events here for years commented on the marked improvement to the acoustics. After our Beach Boys sell-out, we know we can compete for the best shows that come to our area.”

Commenting on the project John Storyk remarked, “Acoustic restoration is an art and science. Virtually everyone on our staff of designers and engineers started out as musicians, myself included. A wealth of products and options exist today, which are capable of ameliorating negative acoustic issues. The process of eliminating reverberation, enhancing sound and speech intelligibility, fine-tuning a hall like the Westchester Community Center requires precise measurements and the ability to make effective, reasonably priced recommendations. Our goal is to provide audiences with a high quality listening experience. We were delighted to be associated with this project, and we look forward to enjoying the benefits of our advice. We’ll be there for Aretha!”

Photos: Four views of WSDG WCC Acoustic Upgrade. Please credit photos by: Andrew Stein Videography, www.Drewvideo.com

###

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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Westchester County Center – Revitalized Acoustics Draw Stars — And Crowds

Première Artists Bring Good Vibrations To Classic Venue

WHITE PLAINS, NY: An entrepreneur with a wide range of music business interests, Irwin Kornfeld has sparked new awareness for the eighty-year-old Westchester County Center. An adroit upgrade of the facility’s acoustics, coupled with a state of the art sound system, has landed the WCC and its new “Pepe Infiniti Concert Series” on the radar of booking agents and performing artists seeking viable venues for tri-state concert dates. The series’ launch featured The Beach Boys in concert in mid-May, nearly fifty years after their first WCC gig. The Johnny Winter Band and Edgar Winter Group, Boston, Il Volo, Whoopie Goldberg, Aretha Franklin and others are booked through November.

A long-time Pleasantville resident, Kornfeld recognized the need for a larger local performance venue. But, having seen shows at the WCC years ago, he knew the County Center couldn’t attract discriminating artists (or audiences) until the acoustics and sound system were improved. “I approached the County with a carefully considered proposal,” he says. “Our company, Westchester Media, Inc. would help improve the County Center’s acoustics, and in return have a wonderful venue in which to present premier entertainment,” he said.

Kornfeld’s next move was to contact the Walters-Storyk Design Group, a NY-based architectural/acoustic design firm whose credits range from Jazz At Lincoln Center to such top NY clubs as Le Poisson Rouge and the just completed 54 Below. “A few years ago I read an interview with WSDG principal John Storyk in In Tune Monthly, a music education magazine we publish,” Kornfeld says. “In addition to their high profile performance venue credits, WSDG has created recording studios for stars ranging from Jimi Hendrix to Alicia Keys. We were delighted when WSDG agreed to take on the Westchester County Center. After partner/project manager Joshua Morris provided us with their analysis and recommendations, we knew we could make this venue work for concerts and theatrical productions.”

The WSDG proposal addressed a number of significant sound distortion problems, including poor intelligibility and a lack of acoustic accuracy. “The Westchester County Center had some acoustic work done in 1988, but the critical listening issues weren’t adequately addressed,” Joshua Morris reports. “Our modeling and measurement tests determined the problems could be ameliorated through a combination of electro-acoustic solutions. The 57′ high curved ceiling and the truss cavity beneath needed to be treated with a total of 1,120 2′x4′ 4″ thick perforated PVC lapendary panels, providing almost 9,000 sq. ft. of broadband absorption. QuietStar Industries suspended these units from the ceiling with cables, which have greatly improved upon the existing ceiling reflector treatments that remained from the 1988 acoustic effort, reducing our reverberation time, especially in the lower frequencies, to manageable levels.”

WSDG also recommended that 270 sq. ft. of Rosebrand Charisma velour curtains be hung on strategic sections of the balcony edge. Additionally, WSDG worked with pro audio expert Chuck Ballantine of Pleasant Valley-based, Ballantine Communications & Staging to select an package of 11 ElectroVoice subwoofer rows, two vertical stacks of four subwoofers each, and stereo line arrays to assure the best conceivable audio system for the WCC. “We’ve worked with WSDG on other projects, and I’ve worked shows in the WCC for years, so we were very familiar with the venue,” Ballantine says. “ElectroVoice has a solid, product line and an excellent support team. This new sound system, coupled with WSDG’s acoustic treatments makes the WCC a extremely viable performance option.”

“We’ve been monitoring shifts in live performance trends, and felt the WCC had enormous potential for artists capable of filling halls with between three and five thousand seats,” Kornfeld said. “Acts fall into three basic booking categories: Those who can fill a 200-300 seat club, megastars who can sell-out 35,000+ seat stadiums, and performers who can draw fans to convenient, competitively priced shows in mid-sized venues that offer great sound, a sense of intimacy and a clear site-line. There are only a handful of halls that meet those specs in New York, New Jersey and Connecticut,” he adds. “The County Center sounds great now. Fans that have been attending events here for years commented on the marked improvement to the acoustics. After our Beach Boys sell-out, we know we can compete for the best shows that come to our area.”

Commenting on the project John Storyk remarked, “Acoustic restoration is an art and science. Virtually everyone on our staff of designers and engineers started out as musicians, myself included. A wealth of products and options exist today, which are capable of ameliorating negative acoustic issues. The process of eliminating reverberation, enhancing sound and speech intelligibility, fine-tuning a hall like the Westchester Community Center requires precise measurements and the ability to make effective, reasonably priced recommendations. Our goal is to provide audiences with a high quality listening experience. We were delighted to be associated with this project, and we look forward to enjoying the benefits of our advice. We’ll be there for Aretha!”

Photos: Four views of WSDG WCC Acoustic Upgrade. Please credit photos by: Andrew Stein Videography, www.Drewvideo.com

###

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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Audio Engineering Society And OCA Alliance To Collaborate On ‘Open Control Architecture’ Standard

NEW YORK: The Audio Engineering Society (AES) and the OCA Alliance have jointly announced that an AES standards project has been founded to consider OCA, the Open Control Architecture, for a public standard for control and monitoring of professional media networks.

The goal of this project, identified as: AES-X210, “Open Control Architecture (OCA),” is to produce a public, open, and royalty-free communications protocol standard for reliable and secure control and monitoring of interconnected audio devices in networks of 2 to 10,000 elements.

When the standard is complete, it is hoped that OCA will find broad acceptance in the media systems industry, and open a new era in standardized, interoperable control of devices from diverse manufacturers.

OCA will be a control and monitoring standard, not a media transport standard. It is intended to operate seamlessly with a wide range of media transport standards such as AES-X192, “High-performance streaming audio-over-IP interoperability” – currently in development – and IEEE AVB. Together, these standards will offer a path to complete network application solutions for future media networks that include both media transport and system control functionality.

OCA is substantially based on work done in the early 1990′s by the AES24 project, a pioneering effort in network system control. Although AES24 never reached full standards status, it offered a number of advanced concepts, which have found their way into various developments over the years.

In the coming months, the AES-X210 task group, part of AES working group SC-02-12 on Audio Applications of Networks, will be meeting to render the current OCA 1.1 specification into standards form and to shepherd its processing through the AES’s open standards process. Interested individuals are encouraged to participate. The full standards participation policy is available from the AES Standards website. During this period, the OCA Alliance will undertake various initiatives to support the work of AES-X210, and to define proposals for future extensions to the standard.

Crystallizing the focus of the new alliance, AES Standards Committee Chair, Bruce C. Olson remarked, “AES Standards has been deeply involved with standards for digital audio since starting work in 1977. The AES-X210 project to standardize OCA takes us to the next important milestone by integrating control with transport of audio over a variety of networks. Combined with a number of other projects in this exciting area of audio the AES continues to lead the world in audio standards, which enable a thriving marketplace for compatible products from competing manufacturers. We are very pleased to collaborate with the leading manufacturers in the OCA Alliance on this standards project.”

Photo: AES Standards Committee Chair, Bruce C. Olson

Web Pages
AES Standards website: http://www.aes.org/standards/
AES Standards participation policy www.aes.org/standards/development/membership.cfm
OCA Alliance website: http://www.oca-alliance.com/

###

About the AES
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

About the OCA Alliance
OCA Alliance is a non-profit corporation formed to secure the standardization of the Open Control Architecture (OCA) as a media networking system control standard for professional applications. The OCA Alliance’s purpose is to actively promote the adoption and standardization of Open Control Architecture (OCA) as a media networking system control standard through marketing, education and training and to develop future standards and other documents that augment, enhance or extend the primary OCA standard for the purposes of enabling and promoting increased interoperability and reliability for a variety of transport standards.

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