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Archive by Howard Sherman

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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AES Announces Awards Presentations

SAN FRANCISCO: Each year the Audio Engineering Society presents special awards to members who have made outstanding contributions to the Society in such areas as research, scholarship, and publications. Additionally, members whose accomplishments have advanced and enhanced our industry are recognized for their endeavors. This year’s Awards will be presented during the opening ceremonies of the 133rd AES Convention on Friday, Oct. 26th at SF’s Moscone Center.

“While their individual areas of expertise are diverse, AES Award recipients are similar in that each of them has made an indelible mark on the advancement of the art and science of pro audio,” remarked Awards Committee Chair Diemer de Vries. “The dedication and perspiration they have devoted to their life’s work, coupled with their ongoing efforts to further the goals of our Society, make them examples of perseverance and innovation. We are extremely pleased to honor these brilliant, original thinkers.”

RECIPIENTS OF THE 2012 AES BOARD OF GOVERNORS AWARD ARE:

•Jay Fouts, in recognition of his work on behalf of the Audio Engineering Society over more than half a century
•Kyungwhoon Cheun, in recognition of co-chairing the 43rd AES International Conference in Rohang, Korea, September-October 2011
•Ricardo Escallón in recognition of co-chairing the 2010 Latin American Conference in Bogota, October 2010
•Cesar Lamschtein, in recognition of chairing the 2011 Latin America Conference in Montevideo, August-September 2011
•Gunther Melendez, in recognition of chairing the 2012 Latin America Conference in Guatemala, August 2012
•John Oh, in recognition of co-chairing the 43rd AES International Conference in Pohang, Korea, September-October 2011
•Ville Pulkki, in recognition of chairing the 45th AES International Conference on Application of Time-Frequency Processing in Audio in Helsinki, Finland, March 2012
•Jeff. M. Smith, in recognition of chairing the 46th AES International Conference on Audio Forensics in Denver, June 2012
•Michael Santucci, in recognition of chairing the 47th AES International Conference on Music Induced Hearing Disorders in Chicago, June 2012
•Marcela Zorro, in recognition of co-chairing the 2010 Latin American Conference in Bogota, October 2010

AES FELLOWSHIP AWARDS WILL BE PRESENTED TO:

•Juha Backman, for his contribution to bringing about high-quality audio for mobile devices

•David Bialik, in recognition of his outstanding contributions to AES activities in the field of radio broadcast engineering
•Poppy Crum, for her work in neuroscience and psyhoacoustics, allowing a better understanding of how we listen to audio
•Carlos Indio Gauvron, in recognition of outstanding contribution to the dissemination of audio knowledge in Latin America
•Garry Margolis, in recognition of his many years of activities in audio engineering, having worked in areas as diverse as loudspeaker development and digital audio coding.
•Jorge Moreno, in recognition of his many years of work in researching new technologies in audio measurement as well as his dedication to audio education in Latin America
•John Storyk, in recognition of his more than four decades of work in the areas of room design, acoustical treatment, and modification.
•Woon-Seng Gan, for contributions to signal processing, education, and research leadership in the field of Audio Engineering

THE DISTINGUISHED SERVICES MEDAL IS AWARDED TO:

•John Vanderkooy, in recognition of his many years of work as AES Journal Editor and as a member of the Board of Governors

AN HONORARY MEMBERSHIP AWARD IS PRESENTED TO:

•Ronald E. Uhlig, in recognition of his pioneering engineering achievements to enhance the film sound experience for the audience

“The significance of these AES Awards can not be overstated,” concludes AES President, Jan Abildgaard Pedersen. “The Awards Committee scrupulously deliberates every nominee recommendation. Our Awards are held in high regard because they honor noteworthy achievements and long, productive careers. Each recipient has earned the enduring respect of his or her peers. We are proud to honor them in this fashion.”

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

Photo: John Vanderkooy will receive the AES Distinguished Services Medal

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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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MIDI Manufacturers Association and AES Partner to Celebrate 30 Years of MIDI Technology

LA HABRA, Calif., Oct. 2, 2012-The MIDI Manufacturers Association (MMA) today announced a partnership with the Audio Engineering Society (AES) to support the MMA’s upcoming “MIDI Makes Music” 30th anniversary celebration designed to educate consumers about the benefits of MIDI technology for anyone interested in learning, writing or playing music.

MIDI dramatically changed music-making 30 years ago-and it remains a key technology for music-making today. AES played a key role in MIDI’s history as the idea for the standard was first proposed at the 70th AES Convention in 1981.

At the upcoming 133rd AES Convention in San Francisco, the MMA will exhibit in booth 537 and host a session during AES’ “Project Studio Expo”. Developed in partnership with Sound On Sound and Craig Anderton, the Project Studio Expo (PSE) brings the latest recording techniques, best practices, and practical tips from leaders in the recording business.

“Our Project Studio Expo is focused on the very market that grew from the seeds MIDI planted 30 years ago”, said Bob Moses, AES Executive Director. “As someone who was there, actively participating in the MMA and developing early MIDI products in the 1980′s, I’m thrilled to welcome the MMA to our party as they begin their celebration.”

The MMA will formally launch its “MIDI Makes Music” campaign in 2013 at the NAMM Show.

“It takes broad industry-wide support to make MIDI a successful industry standard,” said Tom White, president, MMA. “We are grateful to AES for helping all of us celebrate this important milestone.”

About the MMA
The MIDI Manufacturers Association (MMA) is the publisher and authoritative source of MIDI specifications. Manufacturers achieve interoperability through compliance with MMA Recommended Practices. We provide forums for developers to coordinate changes to the MIDI specification, which today remains one of the most relevant standards in the entertainment industry. For more information, please visit www.midi.org

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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MBK Entertainment: Glamour + Chops = OZ Studios

World Class Studio Features Top Gear, Fine-Tuned Acoustics & River Views

NEW YORK: Nearly twenty years after the debut of their multi-faceted MBK Entertainment dynasty, company founders Jeff Robinson along with partners Jeanine Mclean, Misha Hedman and Suzette Williams have moved to expansive new offices and, created OZ, a world-class recording studio. The thriving multimedia company has honed a ‘methodical’ approach to talent development, a technique highlighted by the spectacular career of multi-Grammy-winner Alicia Keys and newcomer, Elle Varner (RCA). Today MBK’s mission encompasses musical genres ranging from R&B to Rap and Pop, and includes marketing, publishing, TV, film and concert promotion divisions. In addition to Keys on the production side, the MBK talent roster boasts rising star, RCA recording artist Gabi Wilson, Daisha and blue-eyed soul artists Allen Stone and Anthony Hall. The completion of the pivotal studio addition to the expanding company’s creative arsenal opens up a brand new option for MBK clients and independent artists.

“We always dreamed of owning an in-house studio says MBK VP/Managing Partner Jeanine Mclean, “but our previous offices were too small to build something that would meet our needs. Two years ago a flood prompted a search for larger space. The 19th floor at 519 8th Avenue not only gave us the space we needed, it included terrific views of the Hudson River and beautiful sunsets.”

Well aware of world-class studios created by the Walters-Storyk Design Group for Alicia Keys and Jay-Z, MBK brought WSDG (2011 TEC Award-winner for Jungle City) on board as soon as they signed the lease on their new 7800 sq. ft. space. “We knew we were in good hands from our very first meeting,” Mclean continues. “WSDG’s design incorporated all our ergonomic and aesthetic requirements and, they enabled us to carve a second control room and spacious sound booth out of a space we originally envisioned as a single studio.

“Contractors, Kevin Carrol and Mark Jakubek of Sonic Construction were total pros,” McLean adds. “Working hand-in-glove with WSDG project manager Matt Ballos, they were pro-active in suggesting efficient, cost-effective ways to execute and enhance our ideas. Plus they were extremely conscientious in terms of noise and refuse control, which enabled us to run our business throughout the construction period.”

Matt Ballos points to the innovative use of glass and acoustic treatments as particular design highlights. “We developed a plan that provided a line of sight from both studios through the Live Rooms and out the building windows all the way to the river and New Jersey. While we had a relatively tight footprint for both the A& B rooms, the machine closets and related areas, every square inch of space was optimized.”

OZ Studios feature a 230 Sq. ft. Live Room, and a 190 sq. ft. Control Room A outfitted with an SSL Duality SE 24 Input Analog Console, Apple Logic Pro Studio, Avid Digidesign HD3, Augspurger Custom Main Monitors and a wide range of outboard gear. The 150 sq. ft. Studio B Control Room features an SSL Matrix console, Adams S5X-V speakers and a 60 sq. ft. sound booth. Both studios abut a sprawling 600 sq. ft. plus common lounge area, which affords artists and clients with comfortable break space.

The entire gear package was coordinated and integrated by GC Pro Boston, principal/ founder, PK Pandey, who project managed this phase to insure a timely and on-budget delivery of the facility. Pandey comments, “I based the hand-picked outboard selection, advanced DAW systems and custom Augspurger Monitoring on previous studios we have done. Jungle City for Ann Mincieli, and Oven NYC for Alicia Keys, to insure compatibility with OZ. It was a pleasure to work with the MBK, Sonic, and WSDG teams.”

“We are developing a program to maximize the potential of our new studio,” said MBK founder/CEO Jeff Robinson. “While our artists will have first dibs on studio time for their projects, we plan to make this outstanding studio available to outside artists, producers engineers as well as for film/TV production. In the years to come, we hope to see a return on our investment, not just in monetary terms, but also as a source for meaningful, lasting music. These studios are finely tuned instruments. We are developing a number of highly talented artists, and we anticipate a steady flow of hits from this beautiful facility.”

“OZ Studios was an extremely positive experience,” John Storyk adds. “Our project manager Matt Ballos made certain that every element of the design and construction program was addressed. John Geraghty and David Kotch, did an exemplary job of system calibration and fine tuning the rooms. Our program of surface applied acoustic treatments, fabric wrapped panels, and custom, Flutterfree diffusers and low frequency absorbers enabled us to tune the rooms to act and sound like much larger studios.”

“Sufficient ceiling height permitted us to incorporate floating floors and full room-within- room construction to insure their ability to crank up the volume without imposing on their neighbors. NYC construction projects can be dicey, but the building was cooperative. The Sonic Construction team was totally buttoned down. They’ve done a number of studio projects and we look forward to working with them again soon. The river views and extraordinary sunsets are another decided plus for this studio,” Storyk concludes. “The outlook for OZ Studios is bright and colorful.”

To contact MBK OZ Studios visit: info@theozstudios.com

Photos: MBK OZ Studio A Control Room
MBK OZ Studio A Live Room
MBK OZ Studio B Control Room
MBK OZ Studios Lounge

Photos by: Cheryl Fleming Photography http://www.cherphotos.com/architecture

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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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Provides Universal Convention Details + Total Connectivity

AES Launches Mobile APP For SF Convention
SAN FRANCISCO: The 133rd AES Mobile Convention will empower exhibitors and attendees with virtually unlimited connectivity and flexibility. Coordinated by AES CIO Steve Johnson, this ‘must have’ App delivers instant access to every aspect of the event, from fast breaking program updates to comprehensive details on technical programs, tours and special events. The App also features a user-friendly option for locating exhibitors on the show floor, even when Internet access isn’t available.

“Another new feature is clickable presenter names, enabling rapid access to background credits for every session participant. Changes for the exhibition are even more dramatic,” Johnson says. “The App provides detailed information on each exhibitor, and accelerates downloading of brochures, videos and news releases. Another new button jumps users directly to specific booth locations on the show floor map. It also provides convention news bulletins, a Twitter feed following the #AESorg hashtag, and much more,” Johnson adds.

The AES 133rd Mobile Convention is available for iPhone, iPad, iPod Touch, and Android. Blackberry and other Smartphone users can utilize a mobile web version optimized for those devices. The app is available immediately, and can be downloaded free from the AES website.

In addition, the AES has developed a wide range of Exhibitor opportunities designed to help their companies stand out from the crowd. Options range from uploading logos and brochures, to banner ads and video presentations. More information can be found on the San Francisco exhibitor website.

Photo: The 133rd AES Mobile Convention App

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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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Live Sound Rules At 133rd AES Convention

Women of Pro Concert Sound; Small Venue Acoustics; Audio DSP in Unreal-Time

SAN FRANCISCO: 133rd AES Convention Co-Chairs Jim McTigue and Valerie Tyler have assembled a cadre of ‘pros, pros’ for the Live Sound Track. “Our Road Warriors and high-tech savants represent the ultimate combination of hands-on expertise and theoretical achievement,” McTigue says. “We’ve reached out to experts from every corner of the Live Sound Universe; from FOH wizards to small (and large) venue acoustic specialists; educators and, women in live sound. This program is designed to encapsulate Live Sound’s ever-widening reach into revitalized and unanticipated quarters.”

AES Convention Live Sound Highlights Include:

The Women of Professional Concert Sound: Chair, Terri Winston, Women’s Audio Mission; FOH Engineer Panelists: Claudia Engelhart, (Bill Frisell, Herbie Hancock, Wayne Shorter); Deanne Franklin, (Tom Waits, David Byrne, Pink); Michelle Sabolchick Pettinato, (Gwen Stefani, Jewel, Melissa Etheridge): Drawing from their experience running sound in major venues around the world, these distaff engineers will share their tips and tricks; explore an ‘average’ day on a world tour; describe tweaking the acoustics of dissimilar venues; and offer insights into managing a life of constant touring.

Acoustics For Small Live Sound Venues – Creating (& Fine-Tuning) The Consummate Performing/Listening Environment: Chair John Storyk, Walters-Storyk Design Group; Panelist, David Kotch, independent project engineer. Architects, acousticians and designers of significant small (and large) contemporary live performance venues, WSDG credits include NY’s Le Poisson Rouge, Dizzy’s Club Coca Cola (Jazz At Lincoln Center), the Rockwood Music Hall, 54 BELOW and most recently The Fenix Club, opening this month in San Rafael. This Workshop will address effective solutions for eliminating noise leakage out of and into the venue, innovative acoustic treatments, room tuning and realistic programs for accessing club site selection.

Live Sound Engineering – The Juxtaposition of Art and Science: Chair, Chuck Knowledge, Chucknology, SF: The technical foundations of audio engineering are no longer enough to deliver the experiences demanded by concertgoers. This session presents an examination of the disciplines required for modern live event production. In addition to practical engineering challenges and considerations for the artist’s desire to push the technological envelope, issues to be covered include: Transplanting studio production to the live arena; Computer-based solutions and infrastructure requirements; The symbiosis between lighting and video. And, new career paths.

Tuning a Loudspeaker Installation: Chair, Jamie Anderson, Rational Acoustics – Panel TBA: Loudspeaker systems are designed to achieve functional and aesthetic goals. Tuning those systems is the final step in achieving those aims. Beyond EQ/DSP tweaking, system alignment encompasses critical decisions made throughout the design, installation, drive adjustment and application processes. This panel will discuss their procedures, priorities and, the critical elements that make their alignment goals achievable.

Planning a Live Sound Education – Should I Study The Theory, or Practice The Skills? Chair, Ted Leamy, Promedia-Ultrasound: Panelists, Kevin W. Becka, Conservatory of Recording Arts and Sciences/Mix Magazine; Michael Jackson, Independent Live Sound Engineer; David Scheirman, Harman Professional: Acquiring the right education for a career in live audio is a challenging proposition. Which is better, a formal education or hitting the road and earning while you learn? Education options being marketed today are overwhelming. School programs, manufacturer training, product user certifications … These industry veterans will launch a lively investigation of the alternatives for acquiring wisdom and chops.

Live Sound For Corporate Events: It’s Business Time: Chair, Michael (Bink) Knowles; Panelist Steve Ratcliff – Two leading independent engineers will discuss the level of perfection required by corporate events in an environment where video screens and lighting plots often take precedence over loudspeaker placement. Related onsite events creating feedback challenges can complicate signal flow and mixing. Mixing, routing and arraying strategies will be addressed.

Audio DSP In Unreal-Time, Real-Time and Live Settings: Chair, Robert Bristow-Johnson, audioImagination; Panelist, Kevin Gross, AVA Networks – There are two primary audio DSP problem areas: The Algorithm – What the sound and math needs to accomplish; and Housekeeping – the “guzzintas,” “guzzoutas” and related overhead. Other key issues include the variable aspects of audio processing. This presentation will provide a realistic definition of “real-time,” and explore common and ‘innovative’ tricks for getting ‘non-real-time’ algorithms to act in a real time context.

The Art of Sound For Live Jazz Performances: Chair, Lee Brenkman; Panelists: Mitch Grant, independent engineer for San Diego area jazz events; and Nick Malgieri, mixer for Monterey Jazz Festival events – A discussion of the sonic presentation of America’s native musical art form in settings ranging from intimate cafes and night clubs to large outdoor festivals. Panelists will focus on how sound reinforcement for jazz can differ from other genres.

Photo: NYC’s new 54 BELOW will be discussed in an AES Convention “Acoustics For Small Live Sound Venues” Live Sound Track event.

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The 133rd Audio Engineering Convention is set for SF’s Moscone Convention Center Friday, October 26 thru Monday, Oct. 29. For a detailed Preliminary Calendar of Events please visit: http://www.aes.org/events/133/calendar/calendar.cfm
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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Live From SF! AES Convention Preliminary Event Calendar

New Tracks, Comprehensive Event/Exhibitor/Registration Details Online Now!

NEW YORK: With just five weeks to go until “Show Time,” the AES continues to update the Preliminary Event Calendar. Packed with vivid abstracts, dates, times and presenter details, the AES/PEC is the culmination of an intensive year of activity. The 133rd Convention looms as the most colorful, informative, timely and far-ranging AES event ever. From Broadcast/Streaming to Education, Game Audio, Historical, Live Sound, Papers, Platinum, Product Design, Special Events, Tech Tours, Tutorials and Workshops, the 133rd AES Convention is the definitive crash course on everything audio.

“In addition to our traditional program, this Convention marks the introduction of three timely new tracks,” reports Committee Co-Chair Jim McTigue. “We are extremely enthusiastic about the 3-Day Project Studio Expo developed in partnership with UK-based Sound On Sound editors and Craig Anderton to explore issues and innovations that make Project Studios a pivotal trend in today’s recording environment. We are also extremely pleased with our Sound For Pictures and Networked Audio Tracks. These events epitomize the AES mandate as the industry’s most authoritative platform for addressing critical issues of technical concern,” McTigue says.

“As with our totally upgraded Mobile App, our Preliminary Calendar has been carefully fine-tuned to make it the most comprehensive and user-friendly edition ever,” reports Committee Co-Chair Valerie Tyler. “Attendees will find it much easier to navigate. The color-coded grid provides instantly accessible drop-down abstracts. Dates and times are clearly illustrated. While we make a point of emphasizing the fact that this is a ‘Preliminary’ Although Calendar changes continue to be posted right up to October 26, the site will be enormously helpful to attendees in strategizing their show schedules.”

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Visit these links for more details:

* http://www.aes.org/events/133/calendar/calendar.cfm
* http://www.aes.org/events/133/hotels/
* http://www.aes.org/events/133/registration/
* http://www.aes.org/events/133/exhibitors/exhibitors.cfm
* http://www.aes.org/mobile/

PHOTO: The 133rd AES Convention will be held in SF’s Moscone Center Oct. 26 – 29.

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 Fraunhofer Pro-Codec Version 2 Ships – Featuring Apple AAC iTunes Plus Codec And MPEG Surround Support

Oxford, UK – September 13, 2012: Fraunhofer IIS, the world’s renowned source for audio and multimedia technologies, and innovative plug-in designer/manufacturer Sonnox Ltd. today announce the second generation Sonnox Fraunhofer Pro-Codec Plug-In. Initially released in 2011 to global praise, the Pro-Codec Version 2 introduces the ability to master for iTunes and supports the latest multi-channel audio codecs.

For the first time, the Pro-Codec Plug-In enables engineers to use Apple’s iTunes Plus codec for real-time auditioning, making it a powerful time-saving tool to efficiently mix directly for the “Mastered for iTunes” program. Sonnox has added Apple’s iTunes Plus codec to the Plug-In to enable the exact clipping behavior of the iTunes encoding chain to be monitored, and levels corrected if necessary, saving time and ensuring high quality output during the mixing process.

In addition, Sonnox and Fraunhofer have integrated the latest MPEG Surround codec along with Advanced Audio Coding Low Complexity (AAC-LC) multi-channel and High Efficiency Advanced Audio Coding (HE-AAC) multi-channel support, making the codecs conveniently available for producers of surround music. These codecs provide superior audio quality for surround sound mixing and are used in surround broadcasting and streaming.

The Pro-Codec Version 2 continues to provide Fraunhofer implementations of all major MPEG audio codecs and lossless codecs such as mp3 High Definition (mp3HD) and High Definition Advanced Audio Coding (HD-AAC). This establishes the Pro-Codec as the most powerful codec plug-in available for digital audio workstations.

Version 2 of the Sonnox Fraunhofer Pro-Codec Plug-In is available now at the same price as Version 1 at $495. A free upgrade will be available for Version 1 owners.

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For more information, click here: http://bit.ly/QIJuzX

(or visit www.sonnox.com)

About Fraunhofer

The Fraunhofer IIS Audio and Multimedia division, based in Erlangen, Germany, has been working in compressed audio technology for more than 20 years and remains a leading innovator of technologies for cutting-edge multimedia systems. Fraunhofer IIS is universally credited with the development of mp3 and co-development of AAC (Advanced Audio Coding) as well as technologies for the media world of tomorrow, including MPEG Surround and the Fraunhofer Audio Communication Engine.

Through the course of more than two decades, Fraunhofer IIS has licensed its audio codec software and application-specific customizations to at least 1,000 companies. Fraunhofer estimates that it has enabled more than 5 billion commercial products worldwide using its mp3, AAC and other media technologies.

The Fraunhofer IIS organization is part of Fraunhofer-Gesellschaft, based in Munich, Germany. Fraunhofer-Gesellschaft is Europe’s largest applied research organization and is partly funded by the German government. With 20,000 employees worldwide, Fraunhofer-Gesellschaft is composed of 60 Institutes conducting research in a broad range of research areas. For more information, contact Matthias Rose, matthias.rose@iis.fraunhofer.de, or visit www.iis.fraunhofer.de/amm.

About Sonnox

Sonnox Ltd. is the leading designer of innovative, high quality, award-winning, audio processing plug-ins for professional audio engineers. Oxford Plug-ins are used in an extraordinary range of audio applications including mixing for music production, live sound, broadcast, TV & feature film audio post production, and even scientific and forensics projects.

Sonnox Oxford Plug-ins include: The SuprEsser, a highly efficient de-esser and dynamic EQ; The Restore Suite for sophisticated audio restoration; and most recently, the revolutionary Fraunhofer Pro-Codec, a real-time plug-in for auditioning and encoding audio to multiple formats including iTunes. Sonnox continues to embrace new technology, supporting both Avid’s ProTools | HDX and Universal Audio’s UAD-2 platforms as well as most popular native workstations.
For more information, contact Nathan Eames, nathan@sonnox.com. or visit www.sonnox.com

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