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Archive by Howard Sherman

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

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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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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

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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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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/

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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

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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AES Convention Heyser Lecture By JJ Johnston

“Audio, Radio, Acoustics and Signal Processing – The Way Forward

SAN FRANCISCO: An innovative and highly respected pro audio doyen James D. “JJ” Johnston, will present the 133rd AES Convention Heyser Lecture. Scheduled for Saturday evening, Oct. 27 from 6:30 to 8:00 PM at the Moscone Center. Dr. Johnston’s lecture is entitled “Audio, Radio, Acoustics, and Signal Processing – The Way Forward.”

This presentation will explore the current understanding of human auditory perception, and reveal how the way we actually work encourages a dichotomy of knowledge that no longer exists. Dr. Johnston will propose educational methods designed to amalgamate artistic and technical approaches; and techniques for applying some of the technical expertise we’ve acquired on the artistic side in order to better understand what the artistic side of the business needs and desires.

Currently an independent consultant, JJ Johnston recently retired from his position as Chief Scientist for DTS, Inc. In that role, he contributed to a variety of acoustical modeling, preprocessing and post-processing algorithms for audio capture, analysis, control, and presentation. He served in a similar capacity at Neural Audio, and as an Audio Architect for the Codecs, Core Media Processing, and Video Services Groups of Microsoft Corporation. He previously worked with AT&T Labs Speech Processing Software and Technology Research Department. And, with AT&T Bell Laboratories’ Acoustics Research and Signal Processing Research Departments.

“JJ Johnston is one of our most distinguished, imaginative, and forward-thinking AES members,” remarked AES president Jan Pedersen, “We are extremely fortunate to have him share the benefits of his long and productive career with us at the 133rd Convention.”

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Photo: 133rd AES Convention Heyser lecturer JJ Johnston

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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Legendary ‘San Francisco Sound’ Artists Convene For AES Convention Special Event

From ‘Big Brother And The Holding Company To Country Joe McDonald

SAN FRANCISCO: Christopher Smith, Special Events Chair for the 133rd AES Convention, has collaborated with award-winning photographer, journalist Mr. Bonzai, on a special salute to “The Sounds Of San Francisco.” Set for Saturday, Oct. 27, 11:15 am – 12:30 pm, the panel will feature members of super-groups that helped create the soundtrack for ‘The Summer of Love.’ Also lending his keen perspective to the proceedings is Joel Selvin, a Bay-area journalist, who provided eyewitness coverage of those halcyon days for Rolling Stone, the LA Times, SF Chronicle, Billboard and Melody Maker.

Participants in this soulful ‘gathering of the tribe’ include: Big Brother And The Holding Company, founding member/songwriter/guitarist, Peter Albin; Huey Lewis And The News, bassist Michael Cipollina, and, Woodstock Festival legend, Country Joe McDonald

“Our panel looms as an historical, attitudinal, and philosophical show stopper.” Mr. Bonzai, aka David Goggin, remarked. “Their shared love of music, spirit of adventure and collective memories about this universally acknowledged high point in creativity, community and social awareness remains relevant today. And … it will totally rock. They’ll be mixing musical notes, recording anecdotes, and well-sewn wild oats. A high old time is guaranteed for all.”

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For a detailed Preliminary Calendar of Events please visit: http://www.aes.org/events/133/calendar/calendar.cfm

1. Country Joe (sans The Fish) at Woodstock, 1969
2. Peter Albin (right) with Big Brother And The Holding Company

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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Platinum Producers & Engineers – A Gathering Of Eagles

Jack Douglas, Warren Huart, Narada Michael Walden and Young Guru

SAN FRANCISCO: With an all-star cast of 100% Certified Platinum participants,
the 133rd AES Convention Platinum Producers & Engineers Panel looms as one of the show’s hottest tickets. Convention Special Events Chair, Christopher Smith worked closely with panel moderator Michael Romanowski, to coordinate this stellar event, set for Sunday, Oct. 28, 1:30 pm – 3:00 pm at the Moscone Center.

“We are tremendously excited to have a group of this stature participating in a single AES event,” Smith says. “The range of their work encompasses iconic hits for artists ranging from John Lennon to Aerosmith, Whitney Houston and Jay-Z. These superstar engineer/producers represent the best of the best.”

AES Platinum Producers & Engineers Panel: Moderator Michael Romanowski: Owner/chief mastering engineer of the SF-based facility, which bears his name, Romanowski has worked with Third Eye Blind, Big Brother & The Holding Company and many other major artists. He also serves as President of the NARAS SF Chapter. This highly anticipated Special Event will range across a field of creative and technical topics including: Memorable moments in the studio, the finer points of collaboration, and, innovative recording techniques.

PLATINUM PRODUCER/ENGINEER PANELISTS:

Young Guru: Weighs in with credits for over 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. Young Guru has logged over a decade of Grammy-winning experience as an engineer, producer and, an A&R wizard for Roc-A-Fella and Def Jam Recordings. Committed to sharing his knowledge, he lectures extensively, and has established the Young Guru Scholarship Fund for students pursuing careers in Communications, Audio Engineering, Music Education and Music Business.

Jack Douglas: An undisputed legend, Jack Douglas had a long, and close association with John Lennon. Working in NYC’s fabled Record Plant he engineered the classic Imagine album, considered one of the most influential recordings of the last century. In 1980 he completed the Grammy of the Year Double Fantasy album, just weeks before John was murdered. Douglas went on to work with such giants as Supertramp, Guns N’ Roses and Miles Davis. He remains at the top of his game today, with current projects for the Michael Monroe Band and many other contemporary hit makers. Douglas also teaches a studio etiquette class at Ex’pression College for Digital Arts in Emeryville, CA., where he is also hosting an AES Tech Tour.

Narada Michael Walden: Is an eminently successful producer, drummer, singer, and songwriter. His musical career spans three decades, and is highlighted by multiple Gold, Platinum and Multi-Platinum Awards. In 1985 he won R&B Song of The Year Grammy for Aretha Franklin’s Freeway of Love. In 1987 he won Grammys for Producer of the Year and Album of the Year for The Bodyguard movie soundtrack, which included Whitney Houston’s timeless hit, I Will Always Love You. Named one of the “Top Ten Producers With the Most Number One Hits” by Billboard magazine, Walden has owned and operated Tarpan Studios, in San Rafael, since the mid-1980s.

Warren Huart: This Los Angeles based, UK-born music producer has played a fundamental part in creating platinum albums, and in the development of such successful artists as The Fray, Aerosmith, Howie Day and Matisyahu. Known for his hard work ethic and deep respect for the artist’s vision, Huart’s more than 20 years of experience encompasses record production, engineering, mixing and song writing. His extensive knowledge of musical equipment ranges from vintage through state of the art.

“The scope of their credentials may vary widely, but the quality and success ratio of their projects establishes a common ground for these creative masters. I also want to thank AES Tech Tours Chair Jessica Livingstone for her help in bringing Jack Douglas and Narada Michael Walden to this panel. This event will be the talk of the Convention,” “Christopher Smith concludes.”

Photos: AES Platinum Producer & Engineer Panelists

1. Young Guru
2. Narada Michael Walden
3. Jack Douglas
4. Warren Huart<img src="http://blog.svconline.com/briefingroom/wp-content/uploads/2012/10/Young-Guru-lr2-300×177.jpg” alt=”” title=”Young Guru lr” width=”300″ height=”177″ class=”alignnone size-medium wp-image-37395″ />

For a detailed Preliminary Calendar of Events please visit: http://www.aes.org/events/133/calendar/calendar.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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Christophe Anet Joins WSDG’S European Office

Leading Acoustician/Engineer Augments International Design Firm’s Resources

BASEL, SWITZERLAND: Dirk Noy, Partner/General Manager, Walters-Storyk Design Group | Europe Office, has welcomed Christophe Anet to the international architectural/acoustical design firm as an Acoustician/Project Engineer. A multi-lingual, technically accomplished, decision-maker with extensive fieldwork and managerial credentials, Anet brings a diverse skill set to this new appointment.

“WSDG has been engaged in a number of diverse projects over the past years,” Dirk Noy remarked. “From the electro-acoustic upgrade for the KKL Luzern Concert Hall to the acoustic restoration of the Cathedral in Solothurn, Switzerland, a major project for the Berklee College of Music’s expansive new campus in Valencia, Spain, and a recent commission for one of the largest ever recording studio projects in Doha/Qatar, we have sustained an on-going period of extremely high activity. The time lines and complexity of these projects have necessitated the expansion of our staff,” Noy says. “Christophe Anet encapsulates a technical, managerial and communications skill set which is an ideal match for this new position. We are confident that he will be as effective in on-site project management as he will be in boardroom client meetings.”

Most recently an executive with the Swiss Federal Administration, Anet previously served thirteen years with Genelec Oy, Finland, first as Customer Support Acoustic Engineer and later as Technical Editor for the Marketing Department. Fluent in French, English, Italian and German, Anet is also proficient in a wide range of software tools, including acoustical measurement equipments and web programming. He holds a Bachelor of Engineering degree with Honors in Electroacoustics from the University of Salford, Manchester, UK.

“I have followed WSDG’s growth for some time, and was continually impressed with the diversity and scope of their work,” Anet remarked. “I am delighted with the opportunity to collaborate with this talented and accomplished team. I look forward to serving in the field and to devoting my energies to expanding the Walters-Storyk Design Group client base in the broadcast, recording studio, performing arts, business/conference centers and religious spaces sectors throughout Europe and beyond.” Christophe Anet can be reached at chris.anet@wsdg.com.

Photo: Christophe Anet has joined WSDG as Acoustician/Project Engineer

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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, Mexico City, Spain and Switzerland.

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133rd AES Convention Papers Sessions Address Essential Issues

Networked Audio To Spatial Auditory Display For Remote Planetary Exploration

SAN FRANCISCO: Within the multi-faceted realm of the AES Convention, Papers represent the highest order of technical knowledge. Papers Co-Chairs Veronique Larcher and Alan Seefeldt have assembled a four-day program of solidly researched presentations designed to share knowledge on both esoteric and widely discussed issues. “Our objective was to develop the most useful, timely, challenging and above all interesting issues to inform and inspire our attendees,” Larcher said.

“The quality and diversity of the submissions we received enabled us to develop multi-faceted sessions covering such essential issues as: Networked Audio, Emerging Audio Technologies and Auditory Perception. A glance at the titles featured in these sessions substantiates their comprehensive intent,” Larcher emphasized. “Attendees should note that all paper presentations are available in print and PDF/CD format, and they will be available in audio format following the Convention.”

AES PAPERS SESSIONS INCLUDE:

Friday, Oct. 26

NETWORKED AUDIO: Chair, Ellen Juhlin, Meyer Sound Labs, Inc., Berkeley, CA
* Audio Latency Masking In Music Telepresence Using Artificial Reverberation
* Service Discovery Using Open Sound Control
* A Unified Low Latency Network Architecture For Multichannel Live Audio

Saturday, Oct. 27

EMERGING AUDIO TECHNOLOGIES: Chair, Agnieszka Roginska, New York University, NYC
* A Method For Enhancement of Background Sounds In Forensic Audio Recordings
* Transient Room Acoustics Using A 2.5 Dimensional Approach
* Multimodal Information Management: Evaluation Of Auditory And Haptic Cues for NextGen Communication Displays
* Prototype Spatial Auditory Display For Remote Planetary Exploration
* The Influence of 2-D & 3-D Video Playback On The Perceived Quality of Spatial Audio Rendering For Headphones
* An Autonomous System For Multitrack Stereo Pan Positioning
* DReaM – A Novel System For Joint Source Separation and Multitrack Coding

AUDITORY PERCEPTION & EVALUATION: Chair, Scott Norcross, Dolby, SF

Saturday, Oct. 27

* Subjective Evaluation of Personalized Equalization Curves In Music
* Thresholds For The Discrimination of Tonal And Narrowband Noise Bursts
* Identification And Evaluation of Target Curves For Headphones
* Consistency Of Balance Preferences In Three Musical Genres
* The Effect of Acoustic Environment On Reverberation Level Preference
* Localization of a Virtual Point Source Within The Listening Area For Wave Field Synthesis

Sunday, Oct. 28

Spatial Audio Over Headphones 5 papers
Signal Processing Fundamentals 7 papers
Analysis and Synthesis of Sound 10 papers

Monday, Oct. 29

Spatial Audio Processing – 8 papers

“The 133rd AES Convention will offer a total of 112 individual presentations,” Papers Co-Chair, Alan Seefeldt reports. “The Preliminary Events Calendar at: http://www.aes.org/events/133/calendar/calendar.cfm provides a wealth of information on individual Papers, including times, comprehensive abstracts and presenter details. Attendees are guaranteed to come away from the 133rd AES Convention with invaluable knowledge,” Seefeldt concludes. “They will also be invigorated by the on-the-ground networking opportunities they’ll encounter,”

Photo: AES Papers Co-Chair Veronique Larcher

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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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Akai Professional And M-Audio Sign On As 133rd AES Convention Platinum Sponsors

Young Guru Joins Platinum Engineer/Producer Panel

SAN FRANCISCO: AES Executive Director Bob Moses has announced that inMusic Brands’ Akai Professional and M-Audio are the Platinum Sponsors of the 133rd AES Convention. Coordinated by company Tradeshow and Events Manager, Lee Cwiek, the far-ranging sponsorship will provide these brands with extensive visibility across the entire AES Convention.

“Akai Professional and M-Audio are delighted to be platinum sponsors for the 133rd AES show,” said inMusic owner/CEO Jack O’Donnell. “Each year the AES show presents tremendous opportunities to engage with discerning audio professionals from around the world. As a leading manufacturer of cutting-edge professional digital audio technology and musical instruments, we believe this convention provides the perfect platform to engage directly with our customers and with industry thought leaders in meaningful and exciting ways.”

“We are pleased to welcome Akai Professional and M-Audio as our Platinum Sponsors,” Moses said. “This is a great vehicle to serve these two great companies to the fullest extent possible. It is especially apropos that Young Guru, one of their highest-profile spokesmen, will participate in our Project Studio Expo on Saturday, Oct. 27 from 5-6pm, and, in our Platinum Producers and Engineers Panel, Sunday afternoon, Oct. 28, from 1:30 pm – 3:00 pm. He’ll be in terrific company, with legendary producer/engineers Jack Douglas, Warren Huart and Narada Michael Walden. Moderated by Michael Romanowski, a mastering ace and president of the NARAS Board of Governors, this superstar panel will be one of the Convention’s hottest tickets.”

“AES is the ideal venue to discuss the state of the art and to present products and technology that move it forward, added inMusic Brands’ Director of Marketing, David Frederick. “These are among the many reasons we’ve invited award-winning producer and engineer and long time MPC icon Young Guru to participate in a variety of sponsored panels. Young Guru is revered as “The Sound of New York.” He is fluent in the ever-evolving language of music production and he has years in the trenches working with acclaimed Roc-A-Fella Records and Def Jam Recordings. Young Guru has shaped the sound of some of the biggest names in hip hop, most notably mixing 10 of the 11 albums to date for Grammy Award-winning rap artist Jay-Z. At the AES, Young Guru will share his wealth of experiences and domain expertise on the ‘Era of an Engineer’ panel. For recording professionals, these are must-attend conversations.”

Commenting on his participation at the AES, Young Guru said, “This is truly the ‘Era Of The Engineer.’ There isn’t a person under 30 years old without a pair of headphones. This means there needs to be more dialogue about sound and how we are going to innovate at the rate of its accessibility to the masses. I’m looking forward to making my first appearance as an AES speaker at this year’s convention.”

“The 133rd Convention is shaping up as one of the most exciting in AES history,” Bob Moses concludes. “We are working hard to introduce important new events like our Project Studio Expo, and program tracks such as Sound For Pictures and Networked Audio. We’ve built a healthy exhibitor base, crowned by the Akai Professional and M-Audio Platinum Sponsorship. And, our Convention Committee has developed another killer program of Workshops, Broadcast/ Streaming, Live Sound, Technical Tours and Special Events. We anticipate a fantastic event.”

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Photo: Akai Professional/M-Audio spokesman Young Guru will participate in the AES Convention Project Studio Expo and on the Platinum Producer/Engineer Panel
The 133rd Audio Engineering Convention will be held in SF’s Moscone Convention Center Friday, October 26 thru Monday, Oct. 29. For details visit the Preliminary Calendar of Events, http://www.aes.org/events/133/calendar/calendar.cfm

About 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 Akai Professional
Since 1984, Akai Professional’s production tools have been staples of modern music both in the studio and on stage. Akai Professional is one of the world’s most influential manufacturers of musical electronics, creating iconic production instruments, like the legendary MPC, which have altered the landscape of music making. Akai Professional is a member of the premier family of brands known as inMusic. For more information, visit akaipro.com or inmusicbrands.com. Product images are available at akaipro.com/media.

About M-Audio
M-Audio is a leading provider of digital audio and MIDI solutions for electronic musicians and audio professionals. Since 1988, M-Audio has continually provided musicians with innovative and creative products: from acclaimed MIDI and audio interfaces to wildly popular keyboard controllers, M-Audio’s products have become studio and stage mainstays, giving musicians broad access to the latest in music creation and performance technology. M-Audio is a member of the premier family of brands known as inMusic. For more information, visit m-audio.com or inmusicbrands.com.

About inMusic
inMusic is the parent company for a family of premier brands that includes A.I.R. Software Group, Akai Professional, Alesis, Alto Professional, ION Audio, M-Audio, MixMeister, Numark, and Sonivox. Committed to pushing the boundaries of innovation in the DJ, music production, live sound, musical instrument, pro audio, and consumer electronics industries, each of inMusic’s brands creates cutting-edge products that incorporate and build upon the latest in engineering, design, and technology. For more information, visit inmusicbrands.com.

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POE – A Life In Stories & Sound: A Very Special AES Event

Rare Live Performance By Firesign Theater Star Phil Proctor

SAN FRANCISCO: Underscoring the diversity of this year’s AES Convention Special Events Track, Poe – A Life And Stories In Sound offers attendees a rare opportunity to see legendary 3-time Grammy-nominated Firesign Theatre star Phil Proctor, in a live, hour-long dramatic audio performance, as writer Edgar Allen Poe. Engaging live and recorded sound effects, with an original score, the production features Proctor dramatizing moments from Poe’s life and passages from the author’s most powerful prose.

Scheduled for Saturday, October 27, 8:00 pm – 9:00 pm, Poe – A Life And Stories In Sound will also feature actors Melinda Peterson, Bill Chessman, and Ellen Stewart. The production, underwritten by Sennheiser-Neumann USA, features an original play written, produced and directed by award-winning audio dramatist Sue Zizza, and features sound design by David Shinn, of SueMedia Productions, (www.sumediaproductions.com) with live sound effects performed by Valerie Priest and Suzan Lorraine and recorded playback by Don Priest.

The production was coordinated by AES Convention Broadcast/Streaming Media Chair David Bialik to illustrate the diversity of live audio production. It also serves to kick-off the inaugural “HEAR Now: The Audio Fiction and Arts Festival” happening in Kansas City June 20-23, 2013 (www.hearnowfestival.org.).

A multi-faceted artist recognized as the inimitable voice of ‘Howard’ on the Emmy-award winning Rugrats, and as iconic characters in such major animated films as Finding Nemo, and Monsters, Inc., Phil Proctor is an equally accomplished on-and-off Broadway actor. He has performed with LA’s celebrated Antaeus Classical Company with his wife, Melinda Peterson, toured the USSR with the Yale Russian Chorus, and will appear in the forthcoming independent feature film, Window of Opportunity.

Co-starring with Proctor in this exclusive AES production is Melinda Peterson, an audio and live theater pro whose appearances range from multiple roles in Proctor & Bergman’s long-running NPR Power series which aired on John Hockenberry’s Heat, to NPR Playhouse productions, and work with all-star casts on We Hold These Truths and Empire Of The Air for Other World Media. Later this year, she will reprise her lead role of Agatha Christie in The BBC Murders.

Photos: Phil Proctor and Melinda Peterson will perform, Poe – A Life And Stories In Sound, at the 133rd AES Convention, in SF’s Moscone Center, on Oct. 27 8 pm – 9 pm.

For a detailed Preliminary Calendar of AES Convention events visit:

http://www.aes.org/events/133/calendar/calendar.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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