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Archive by Howard Sherman

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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133rd AES Convention Tutorials – From ‘Noise On The Brain’ To Getting The Sound Out of (And Into) Your Head

Social Media For Engineers – Large & Small Room Acoustics – Mastering For Vinyl

SAN FRANCISCO: “The 133rd AES Convention is focused on ‘Listening, Learning and Connecting,’ reports Convention Co-Chair Valerie Tyler. Our Tutorial Program is particularly attuned to that goal. Co-Chairs Vene Garcia and Mike Wells have devoted extensive time and energy to developing a diverse and vigorous program. Their work is bound to have a lasting impact on attendee careers.”
“Our game plan was to cover as many significant issues as time would allow,” Vene Garcia remarked. “We also tried to balance the presentations with traditional and contemporary subject matter. This approach is exemplified by Bobby Owsinski’s Social Media event and Scott Hull’s Vinyl Mastering presentation.”

“Presentations on Large and Small Room Acoustics and Sound System Intelligibility actually represent a mini-track on room acoustics,” Mike Wells adds. “We believe this year’s Tutorials will genuinely benefit attendees.”
133rd AES Convention Tutorials Include:

Social Media For Engineers And Producers: Bobby Owsinski (producer/best-selling author – Facebook, Google+, Twitter and YouTube are important for developing a fan base or client list, but without the proper strategy they can prove time consuming and ineffective. Engineers, producers, and musicians will find invaluable techniques for efficiently utilizing social media as a promotional tool. Topics include: Your mailing list – old tech, new importance; Social Media management strategies; Optimizing your YouTube presence; The secret behind successful tweets and …What’s next?

Small Room Acoustics: Leading acoustic consultants Peter Mapp and Ben Kok will discuss basic small room acoustics. Issues related to absorption, reflection, diffraction, diffusion and how to use it, along with details on low frequency treatment. Recording and control room specifics and differences will be identified, including considerations for loudspeaker and microphone placement.

Large Room Acoustics: Diemer de Vries, Delft University of Technology Netherlands, (ret) & AES past president – Traditional and modern methods for describing the acoustical properties of ‘large rooms’ will be discussed. Theoretical models, measurement techniques, and the link between objective data and human perception will be covered. What issues need be addressed for a superior assessment? Reverberation time, the impulse response? Or, is there even more to take into account?

Sound System Intelligibility: Peter Mapp. Ben Kok – This comprehensive assessment of speech intelligibility and measurement will encompass how room acoustics can affect intelligibility, and measures that can optimize sound system intelligibility. Practical real world problems and solutions will be discussed in depth.

Mastering For Vinyl – Today’s Challenges: Scott Hull, Masterdisk – What has to be considered when you mix/master your music for vinyl? This Tutorial will dig deep into quality control issues and introduce sure ways to sound great on your first pressing. Topics include: Why contemporary CD mastering techniques do not produce the best sounding vinyl records; Long Sides; The relationship between Volume, Duration and Quality; The Turntable; Quality control: mixing – mastering – pressing; and, the realities of the current vinyl market.

Binaural Auditory Models: Ville Pulkki, Aalto University, Helsinki: The principles of brain mechanisms of binaural hearing have been debated extensively. In the 1990′s, common thinking was, that human binaural decoding is based on delay lines and coincidence counters. Subsequent neurophysiological findings questioned the existence of such delay lines. This tutorial will introduce the basic principles of most common binaural auditory models, and review recent improvements in the models.

Noise on the Brain Part II – Higher Fidelity: Poppy Crum, Dolby – Did you know that drinking a glass of orange juice every day might protect your hearing? Most discussions of hearing damage focus on what happens to the cochlea and inner ear. While this understanding is crucial to avoiding trauma that can lead to hearing loss, acoustic and chemical stimuli can also significantly affect higher brain areas. This session will explore new research into how this damage manifests throughout the auditory pathway as changes in hearing sensitivity, cognition, and the experience of tinnitus.

Getting the Sound Out Of (And Into) Your Head – The Practical Acoustics of Headsets: Christopher J. Struck (CEO/Chief Scientist CJS Labs, SF – Exploring the electroacoustics of headsets and other head-worn devices, this presentation will review issues ranging from Insertion Gain, to appropriate instrumentation, including ear and mouth simulators. Boom, close-talking, and noise-canceling microphone tests will be addressed, as will relevant standards, and USB, and Bluetooth wireless devices.

An overview of Audio System Grounding And Interfacing: Bill Whitlock, President/Chief Engineer, Jensen Transformers, Inc.- Equipment makers like to pretend the problems don’t exist, but unbalanced interfaces are vulnerable to noise due to an intrinsic problem. Although balanced interfaces are theoretically noise-free, they’re widely misunderstood by equipment designers, which can result in inadequate noise rejection in real-world systems. Unbalanced-to-balanced connections, RF interference and power line treatments will be discussed. Some “cures” are both illegal and deadly.

Photo 1 AES 133rd Convention Tutorial Co-Chair Vene Garcia
Photo 2 AES 133rd Convention Tutorial Co-Chair Mike Wells

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

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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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54 Below Rises As NY’s Latest High-End Club

Elegant Accoutrements & World Class Acoustics Set Stage For Classic Performance

NEW YORK: 54 BELOW, Broadway’s nightclub, is the new performance venue in the grand tradition of New York City nightlife. A few blocks from the heart of Times Square and just below the legendary Studio 54, 54 BELOW is a classically designed state-of-the art nightclub in the theatre district that hosts audiences with warmth and style.

In their description of 54 BELOW, The New York Times writes “the club has the intimacy of a large living room with unimpeded views and impeccable sound; there is not a bad seat. The atmosphere is warmer and sexier than in Manhattan’s other major supper clubs.” The New York Post calls the venue “a gorgeous new cabaret space. With its heavy lineup of moonlighting Broadway stars, 54 BELOW has the congenial feel of a theater hangout where stars go to unwind and sing the songs that really matter to them. It’s a pleasure to share their joy.”

Designed by Tony Award-winner John Lee Beatty and architect Richard Lewis, lit by Tony Award-winner Ken Billington, sound by Tony Award-nominee Peter Hylenski, and acoustic design by the Walters-Storyk Design Group, 54 BELOW features an intimate, in-your-living-room relationship between its performers and audiences. Tony Award-winner Scott Wittman serves as Creative Consultant and MAC Award-winner Phil Geoffrey Bond serves as director of Programming, Andre J. Marrero is Executive Chef.

To address the all-important acoustic issues, two top-drawer firms collaborated on the live sound and audio recording systems. Sound designer Peter Hylenski has worked on such hit shows as “The Scottsboro Boys,” “Rock Of Ages” and “Ragtime.” The Walters-Storyk Design Group has contributed their acoustic design expertise to projects ranging from Jazz At Lincoln Center to, Dizzy’s Club Coca-Cola, and Le Poisson Rouge.

WSDG project manager Joshua Morris reports, “Our first assignment was to perform a comprehensive consultation of isolation issues and internal room acoustics. 54 Below is a relatively small club, designed for audiences of 160 persons, max. At just under 2000 sq. ft., the space is situated directly below a busy commercial lobby, and sandwiched between two of Manhattan’s busiest subway corridors. The ceiling, already relatively low in this basement space, needed to be covered by a new dropped ceiling to conceal extensive air conditioning ductwork, waste and water pipes and wiring troughs.”

The findings of this critical testing program were generally positive and attested to the management group’s clear thinking on the site selection. “In reviewing our findings with Peter Hylenski, aside from a few anomalies which we immediately addressed, we agreed the ambient level of 54 BELOW was acceptably quiet,” Morris says. “Everyone was pleased to learn that very little additional isolation was necessary to allay concerns about the subway lines’ low frequency noise transmissions and physical rumble. Our recommendation was that the audience would accept moderate acoustic leakage as part of the “charm” of the NYC club-going experience, along with the murmur of a working bar and kitchen. We did, however, stipulate that a ‘high-pass filter’ be used on the microphones in critical recording situations.”

Other acoustic recommendations included additional layers of gypsum board on the ceiling. Partitions were recommended for areas adjoining kitchen, bathroom, lobby and electrical equipment closets. Acoustic door seals were stipulated to aid in isolating sound leaks. WSDG’s primary goal was to create a balanced reverberation time within the limits associated with club use and industry standards while intelligently addressing issues of noise.

Joshua Morris and WSDG principal architect/acoustician John Storyk worked closely with sound designer Peter Hylenski to develop and implement the cutting edge, sound system. “Peter’s theatrical background was invaluable in helping us shape this room into an effective performance/recording environment,” John Storyk says. We established an extremely effective collaborative synergy, and in the process we developed some interesting acoustic treatments for 54 BELOW.”

Among these innovations are custom diffusion panels covered with stretched fabric and mounted in filigreed frames that enhance the room’s aesthetics while simultaneously ‘tuning’ the space for maximum listening clarity and warmth. The team also contributed to the design of custom banquet seats, which incorporate low frequency treatments enabling them to serve as acoustic absorption elements. “No one will ever know they’re sitting on room tuning devices instead of traditional seats,” Storyk says, “But they’d hear the difference if we hadn’t paid close attention to the details.”

Photos: 54 BELOW, NY’s newest cabaret. Photos by by Marc Bryan-Brown, courtesy of 54 Below.

54 BELOW is owned and operated by Tony Award-winning producers Tom Viertel, Marc Routh, Richard Frankel, and Steven Baruch. 54 BELOW features up to three shows nightly and has audio recording capabilities. Cover charges range from $5-$95.

54 BELOW is located at 254 West 54th Street. Tickets and information are available at www.54Below.com.

On Sunday, Oct. 28, 4:00 PM to 5:30 PM, John Storyk will discuss his work on 54 BELOW and, other such other WSDG projects as: Le Poisson Rouge, Dizzy’s Club Coca Cola (Jazz At Lincoln Center), The Rockwood Music Hall and the just completed Fenix Club in San Rafael, CA in a special Presentation entitled “Acoustics For Small Live Sound Venues – Creating (& Fine Tuning) The Consumate Performing/Listening Environment” as part of the 133rd AES Convention’s Live Sound Track at SF’s Moscone Center.

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

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AES Presses Play With Game Audio Track

Building An AAA Title, Web Browser Game Audio + Game EDU Programs

SAN FRANCISCO: In keeping with the skyrocketing trajectory of its namesake, the popular AES Convention Game Audio Track continues to break new ground. Committee Co-Chairs Jim McTigue and Valery Tyler report that Game Audio Track Chair, Steve Martz has developed a group of innovative presentations guaranteed to fascinate, stimulate and educate attendees. “As a Sr. Design Engineer at THX Ltd., and, an accomplished studio design consultant for over 1500 rooms including Sony Computer Entertainment, Square ENIX, Activision, Electronic Arts, THQ and Skywalker Sound, Steve Martz is eminently qualified to Chair our Game Audio Track,” Valery Tyler said. “The events and presenters he has assembled for the 133rd AES Convention are exemplary. We anticipate an extremely high turnout for each of them.

133rd AES Game Audio Track Events Include:

BUILDING AN AAA TITLE – Roles & Responsibilities: Presenters: An all-star group from Red Storm Entertainment, a leading game development company formed by best-selling author Tom Clancy. Participants include: Justin Drust, Audio Director; Chris Groegler, Audio Lead/Voice Producer; Fran Dyer, Sound & Music Designer; Matt McCallus, Audio Programmer; and Matte Wagner, Sound Designer – This panel will present a rare look at the genesis of an AAA title by a world-class creative team. Attendees will see the inner workings of the collaborative process as the group engages multiple Ubisoft studios to create the Tom Clancy’s Ghost Recon: Future Soldier Multiplayer development experience.

GAME AUDIO IN A WEB BROWSER: Presenters: Roger Powell, Senior Producer, Audio Technology; Electronic Arts Chief Creative Office; Owen Grace, Sr. Software Engineer, Electronic Arts; Chris Rogers, Sr. Software Engineer/Architect, Google; Guy Whitmore, Sr. Audio Director, PopCap Games – This session will focus on a research project to create a game sound engine in Javascript based on the W3C WebAudio API draft proposal. The sound engine generated 3D ‘spatialized’ rich audio content within a WebGL-based graphics game framework. The result is a networked, multi-player arena combat-style game that rivals the experience of playing on a dedicated console gaming device.

THE FUTURE IS NOW – Mind Controlled Interactive Music: Presenters:
Richard Warp, Composer/Sound Designer, Leapfrog; Kyle Machulis, Founder, Nonpolynomial Labs; Dr. Gautam Agarwal, Researcher, Redwood Center for Neuroscience; Nicolas Tomasino, Software Engineer, IGN Entertainment; Jim Hedges, Composer, Zynga; Adam Gazzaley, Director, Neuroscience Imaging Center, UCSF – Consumers are seeking an ever-more immersive environment for their gaming experience. Whether the feedback comes from autonomic processes, or cognitive function there is no doubt that these ‘active input’ technologies greatly enhance the contextual responsiveness of a game. And, things are about to get more real.

NEW MODELS FOR GAME AUDIO EDUCATION IN THE 21st CENTURY: Moderated by: Steve Horowitz, The Code International Inc, MPA; Panelists: Steve Horelick (macProVideo); Scott Looney, Instructor, Academy of Art University; Greg Gordon, Founder/CEO, Pyramind; Michael Sweet, Associate Professor, Berklee College of Music; Stephan Schƒtze Composer/Sound Designer, Sound Librarian/FMOD – Panel will review the new ways in which the Internet and Social Media are changing the face of game audio education.

CAREERS PANEL – Getting A Job In The Game Industry: Moderator: Steve Horowitz, The Code International Inc, MPA; Panelists: Charles Deenen, Sr. Creative Director Audio, Electronic Arts; Richard Warp, Senior Audio Lead, Leapfrog; Adam Levenson, Agent, Levenson Artists; Jesse Harlin, Composer, Music Supervisor, LucasArts – From full-fledged degree programs, to one-year certificate programs, and single class offerings, game audio education is a hot topic. This panel will discuss the current landscape and offerings in audio for interactive media education.

ADDITIONAL GAME TRACK EVENTS INCLUDE:

DEMO DERBY – Music & Sound Design Critique: Moderator, Paul Lipson, Microsoft : Jonathan Mayer, Music Manager, Sony Computer Entertainment America; Don Veca, Audio Director, Sledgehammer Games at Activision; Paul Gorman, Audio Director, Electronic Arts; Dren McDonald, Audio Director, Loot Drop – Attendees will submit 60 seconds of their best work for detailed critiques from a team of leading pro audio director/producers. The Derby is open to game audio practitioners of all levels, including producers, composers and directors.

LOUDNESS ISSUES IN GAMES: Moderator, Steve Martz, Sr. Design Engineer, THX Ltd. Presenters: Richard Cabot, Qualis; Mark Yeend, Microsoft; Mike Babbitt, Dolby Labs – Loudness wars in games have been hotly debated, but without significant progress. Other industries have taken steps to rein in the content delivered to consumers. Are there parallels that can be applied to games?

HOW TO USE THE ‘INTERACTIVE REVERBERATOR’ – Theoretical Bases And Practical Applications: Chair, Steve Martz, Sr. Design Engineer, THX Ltd. Presenters: Masataka Nakahara (Onfuture), Toshiki Hanyu, Nihon University, Tomoya Kishi, and Takumi Higashi of CAPCOM Co. Ltd. – The ability to apply realistic computed acoustic responses interactively for video game sequences is an invaluable asset for in-game sound processing. The ‘Interactive Reverberator’ was developed to enable acoustical properties to be easily adjusted even after the calculated results are established.

A WHOLE WORLD IN YOUR HANDS – New techniques in generative audio bring entire game worlds into the realms of mobile platforms: Presenter: Stephan Schƒtze, Director, Sound Librarian – This presentation will examine new methodologies being developed for audio creation and implementation to allow large, complex audio environments to be created using minimal resources. Concepts for developing a new approach to sound design will be demonstrated.

GETTING INTO SOUND DESIGN: Presenters: Shaun Farley, Sound Engineer, Teleproductions International; Elise Baldwin, Audio Director, EA/Maxis; Nathan Moody, Design Director, Stimulant; Kyrsten Mate, Sound Designer/Sound Editor, Skywalker Sound – A cross-section of industry experts will discuss entering the effects editing and sound design field. In addition to Game Audio, the panel will discuss the broader industry (Games, Film, TV). Where the work is, and how they got started.

DOING MORE WITH LESS – How Games ‘Immersively’ Simulate Audio On A Budget: Presenter, Scott Selfon, Sr. Development Lead, Microsoft – How do games pack hundreds of hours of experience onto a disc, hard drive, or the web? Techniques used (and the tradeoffs incurred) to make seemingly infinite, unique, and dynamic sounds and music will be discussed.

AUDIO SHORTS (TOOLS): Three presenters will each serve up 20 minute-long overviews on specific sound design tools that matter most to them e.g. Sound Libraries and Favorite Plug-ins. The session will conclude with a Q&A.

TECH TOUR: San Francisco is home to Playfish and PopCap, two of Electronic Art’s newest studios. EA Redwood Shores’ Julie Wynn will conduct a tour of both of these facilities, which are located along the Embarcadero overlooking the Bay Bridge.

Photo 1 AES Game Audio Track Chair, Steve Martz

Photo 2 Tom Clancy’s Ghost Recon: Future Soldier Multiplayer is featured in the AES Audio Game Track

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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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