Archive for October 16th, 2013

Crisp, Binaural Sound Takes Leading Role as Neumann KU 100 “Dummy Head” Microphone Features in “Boom Up!” Short Film

Entire Film Shot in 3D from Boom Mic’s Perspective with Neumann & Sennheiser Capturing Sound, Revealing Behind-the-Scenes “Realities” of a Film Set

Old Lyme, Conn. – October 15, 2013: “Boom Up!” is a new short film by award-winning writer/director Guy Chachkes that challenges the traditional sensory perspective of the movie-going experience. The 12-minute film is shot entirely from the perspective of the boom microphone, with the audio experience playing the lead role. The “lead character” — or primary microphone used on set — was a Neumann KU 100 “dummy head” microphone mounted to a boom pole.

“Boom Up!” reveals a crew setting up for a low-budget sci-fi movie, not unlike François Truffaut’s “Day for Night” [1973] — a classic, Academy Award-winning film that also deals with the challenges that accompany the movie-making process. In “Boom Up!”, the viewer is actually a critical piece of recording equipment, omnipresent during the entire process, and often atop the actors. “Everyone is setting up for a scene,” explains Chachkes. “The electricians are setting up the lights, the producer is arguing with everyone on set, and scandals are brewing in the background — it’s a very ‘real world’ production.”

Since the film narration is inextricably tied to the point of view of the boom microphone, capturing a realistic, authentic sound was a fundamental concern during the filmmaking process. “Since the movie is called ‘Boom Up!’, it was very important to have the best possible sound. My producer [Jesse R. Tendler] came across the concept of recording in binaural surround sound, and after doing some research, we determined that the Neumann KU 100 would be perfect,” Chachkes recalls. “In most applications I’ve seen, the KU 100 microphone is stationary — but we moved it around with the camera itself. We pointed the ‘dummy head’ wherever the camera was looking, and it helped create a very realistic experience.”

The binaural sound picked up by the Neumann KU 100 was augmented by a Sennheiser MKH 416 shotgun mic, which was also mounted to the pole. Additionally, there were (14) Sennheiser MKE 2 Gold sub-miniature omni-directional lavalier microphones positioned on the actors and crew, which were used in conjunction with (14) Sennheiser EM 300 G3 receivers and (14) SK 300 G3 bodypack transmitters. “We combined the binaural tracks from the Neumann KU 100 and Sennheiser MKH 416 with the other lavalier tracks, and it created this 3D sensation like you are right there with the actors. The sound is incredible!” says Chachkes.

The video for the movie was captured in a similarly unconventional fashion, using a GoPro 3D system consisting of two small cameras mounted to the boom pole. “We needed a camera that was high quality, yet light enough and durable enough to capture the exact motion of the boom pole to which it was attached,” says Chachkes.

Chachkes recalls his original inspiration for shooting such an unconventional film: “I was making another short. We were breaking for lunch one day and the sound guy let me hear the scene we had just shot with his headphones. The most interesting thing happened. After playback stopped, I could hear everything the boom mic was picking up, all of the private conversations of the cast and crew. I thought to myself, ‘This would be an amazing concept for a movie, just showing an active movie set from the perspective of a boom microphone that catches everyone’s interactions.’”

After Chachkes explained the concept to the film’s producer, Jesse R. Tendler, Tendler sent Chachkes a YouTube video that was made using the KU 100. “As soon as I heard it, I said ‘That’s it!’” he recalls. Chachkes says he couldn’t be happier with the outcome of the film, which has since been submitted to the Sundance Film Festival and 11 other festivals for consideration.

About Neumann:

Georg Neumann GmbH, with its headquarters in Berlin, Germany, is well-known as one of the world’s leading manufacturers of microphones. The company, which was established in 1928, has a long track record of world-leading product designs and has been recognized with a string of international awards for its technology innovations. From 2010, Neumann offers this expertise in electro-acoustic transducer technologies to the studio monitoring market, and will provide optimum solutions to its customers in the areas of TV and radio broadcasting, recording, and audio productions. Neumann is now the perfect partner for both the input and the output of the audio signal path. Neumann has manufacturing facilities in Germany (microphones) and Ireland (loudspeakers), and is represented in over 50 countries worldwide by Sennheiser subsidiaries, as well as by long-term trading partners. Georg Neumann GmbH is a Sennheiser Group company.

About Sennheiser:

Sennheiser is a world-leading manufacturer of microphones, headphones, and wireless transmission systems. Established in 1945 in Wedemark, Germany, Sennheiser is now a global brand represented in 60 countries around the world with U.S. headquarters in Old Lyme, Connecticut. Sennheiser’s pioneering excellence in technology has rewarded the company with numerous awards and accolades including an Emmy, a Grammy, and the Scientific and Engineering Award of the Academy of Motion Picture Arts and Sciences.

You can find all the latest information on Sennheiser by visiting our website at www.sennheiserusa.com.

Photo captions:
1) Actor Chris Kapcia holds the “boom cam” above actresses Catherine Gibson (left) and Jessica Grant (right). Dummy head operator Arman Rogers stands behind.

2) The Neumann KU 100 “dummy head” binaural microphone.

3) Matt King (Sound Mixer & Associate Producer) setting up the Sennheiser EM 300 G3 wireless receivers.

The Audio Engineering Society Marks Its 65th Anniversary at the 135th AES Convention

— Organization looks back, reflecting on its involvement in the major technological and creative breakthroughs of the last seven decades, and prepares for the future of professional audio —

New York, NY, October 14, 2013 — The Audio Engineering Society (AES) was formed on March 11, 1948, with the purpose of uniting the audio engineering community; collecting, collating and disseminating scientific knowledge in audio and its allied arts; and creating literature and periodicals relative to these purposes and policies. Since its formation, the organization has been involved in every key development in professional audio technology. The very year the organization was founded saw the introduction of the microgroove 33-1/3 rpm long-play vinyl record (LP) by Columbia Records, Scotch’s type 111 and type 112 acetate-base tapes, and Magnecord’s PT-6, the first tape recorder in a portable case. This year’s 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) will celebrate that history and witness more history in the making.

The AES was there for each of the true milestones in audio, including the introduction of the 45 rpm, large-hole, 7-inch record (1949), surround sound (1953), “Sel-Sync” overdubbing (1955), Dolby’s Type A noise reduction (1965), the development of digital audio recording (1975-1980), the proposed MIDI standard (1981), the launch of the CD (1982), the arrival of Digidesign’s Sound Tools, the forerunner to Pro Tools (1987), and 24-bit/96 kHz recording (1996). The list goes on, including the introduction of seminal technologies such as TASCAM’s Portastudio, which some say precipitated the project studio trend, and the arrival of file-based music recording, distribution and consumption, which forever changed the way the culture looks at music.

The AES has been an integral part of almost all of the major technology advances of pro audio since it was founded. “Over the years, the AES convention has served as the industry’s technology incubator where new technologies are unveiled, discussed, perfected and deployed – often in the form of standards and best practices created by the AES Standards Committee,” explains Bob Moses, Executive Director of AES. Standards committee meetings held at the conventions leverage the resources and expertise of top researchers, engineers, academics, system designers, manufacturers and others in attendance. Recently, the AES announced the publication of AES67-2013, a new engineering standard for networked/streaming audio-over-IP interoperability. Past examples of standards work include the ubiquitous AES3 – aka AES/EBU – interface, AES10 (commonly known as MADI) and the AES26 XLR polarity standard. “Today’s standards groups are working on tomorrow’s new technologies such as networked audio, mobile formats, virtualization, and so on,” Moses continues. “The AES is also proud of its partnerships with other organizations such as The Recording Academy®, which result in exciting events like the annual GRAMMY SoundTables® panel with leading artists and engineer/producers discussing the secrets of their craft.” The Society of Professional Audio Services (SPARS) is another example. SPARS is heavily invested in the success of AES Mentoring activities.

As the AES turns 65 this year, it continues to be the only professional society devoted exclusively to audio technology. Outreach has increased, and currently over 14,000 members are affiliated with more than 75 AES professional sections and more than 95 AES student sections throughout the U.S., Latin America, Europe, Japan and the Far East. Section activities may include guest speakers, technical tours, demonstrations and social functions. Through local AES section events, members gain access to valuable opportunities for professional networking and personal growth.

The AES has been there into seven decades, deeply involved in the important technological developments of that period, from the debut of the LP to the transition to file-based music. And AES will be there for the next generation of developments that will impact how we as people relate to sound in the future.

For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

Enhance the Convention Experience with Free “AES Mobile Convention – AES New York 2013” Mobile App

— App for handheld devices provides several tools to help navigate the 135th AES Convention —

New York, NY, October 14, 2013 — The sheer number of events and exhibitors at the 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) can be daunting, but the free “AES Mobile Convention – AES New York 2013” app is here to help.

Available for iOS devices iPhone, iPad and iPod Touch, as well as Android devices, the app provides the following tools to enhance your event experience:

The Dashboard keeps you organized with up-to-the-minute Exhibitor, Speaker, and Event information
My Schedule organizes your schedule with one click
Alerts allow you to receive important real-time communications from the AES
Keep up with industry news on LinkedIn and Facebook groups
Built-in Twitter feed to follow and join in on the show chatter
Rate the sessions you attend and comment on them, too
Interactively locate Companies you want to visit on the Floor Plan Map
Connect with your colleagues using the Friends feature

To download it for free today, please visit http://www.aes.org/mobile/. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

135th Audio Engineering Society Convention to Feature Session on Live Audio Drama and Narration

— “Stories for the Ears: Live Audio Drama and Narration” will feature some of the industry’s top voice talent
and award-winning works —

New York, NY, October 14, 2013 — The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) will feature the event “Stories for the Ears: Live Audio Drama and Narration,” Friday, October 18, 2013, 8:30 PM to 10:00 PM, at The Paley Center for Media. Doors open at 8:00 p.m. Seating is limited, first-come-first-seated. The event, hosted by Bob Kaliban (CBS Mystery Theater) and presented by the HEAR Now Festival and SueMedia Productions in conjunction with the Audio Engineering Society (AES), features an evening of live audio/radio drama along with narrative readings celebrating the art of sonic storytelling.

The program will feature performances by Audie Award-winning and Golden Voice narrators Jim Dale, Katherine Kellgren, Robin Miles and Barbara Rosenblat, and the award winning NY-based audio drama troupe VoiceScapes Audio Theater.

For more information on this event, please visit http://www.aes.org/events/135/specialevents/?ID=3759. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

About the featured performers:

Bob Kaliban has been a voice actor for more than 40 years, having been a regular on programs like CBS Mystery Theater. Bob has also performed in ads, cartoons (School House Rock), television, movies, on Broadway, in video games and more.
Jim Dale has won a record ten Audie Awards, including “Narrator of the Year 2001/5/7/8” and “Audio Book of the Year 2004,” plus two GRAMMY® Awards and seven nominations. He holds two Guinness World Records: 1. Creating 146 different character voices for Harry Potter and the Deathly Hallows, 2. Occupying the first six places in the “Top Ten Audio Books of America.” He has performed on Broadway and won a “Best Actor” TONY® Award for Barnum, along with five additional TONY Nominations and four Drama Desk Awards. Jim is also an Academy Award® Nominee for writing the lyrics for the title song to Georgy Girl.
Katherine Kellgren is a multi-Audie Award winning Golden Voice Narrator who is an audiobook fan favorite because of her no-holds-barred portrayals of characters. Her aptitude with accents is extraordinary. From drunken Scotsman to high-born ladies, Katherine fully embodies all the characters in every book she reads.
Robin Miles began her career as a dancer and actress who found her way to audiobook narration in the early 2000s. An Audie Award-winning and Golden Voice narrator, her works have included Brother, I’m Dying; Half of a Yellow Sun; and Roots. Among her stage credits are The Violet Hour on Broadway and works by Shakespeare, Moliere, Shaw, Euripides, and Brecht at venues like The Public Theater, The Ensemble Studio Theatre and The Yale Repertory Theatre. Robin is also a voice coach and teacher.
Barbara Rosenblat has been described as “the Meryl Streep of audiobooks” by the NY Times. She is a multi-Audie Award-winning and Golden Voice narrator whose extraordinary range of accents and characterizations in a distinguished body of work (more than 400 titles to date) makes her one of the most sought after and beloved narrators of audiobooks in the country. On Broadway, Barbara created the role of Mrs. Medlock in the TONY Award-winning musical The Secret Garden. She returned to Broadway in the critically acclaimed revival of Eric Bogosian’s dark comedy Talk Radio starring Liev Schreiber. In the gaming world her voice can be heard in Grand Theft Auto. Currently she is a featured cast member on Netflix’s Orange is the New Black (as Miss Rosa).
VoiceScapes Audio Theater is a troupe of audio actors, directors, sound engineers, writers, and producers who perform original works of fantasy comedy, and more. They will be performing their award-winning original audio play It Always Feels Like Monday. Additionally, VoiceScapes will present the award-winning comedy short Best Friends Forever. Manual live and recorded sound effects and music give VoiceScapes Audio Theater’s performances a ‘cinematic sound’ quality.

About the presenters:

The HEAR Now Festival is the audio equivalent of a film festival for contemporary audio story-telling in all its forms: live and scripted shows, solo and multi-voiced performances, classic radio drama, experimental narrative, and much much more. The Festival happens every June in Kansas City, Missouri.
SueMedia Productions specializes in Transmedia Storytelling. An Audie Award-winning company, they create fully realized soundscapes for all of their projects. Additional awards for their audio productions include The Gracies, Communicator Awards, International Festival of Radio Awards and many more.

GUITAR CENTER OPENS NEW STORE AND LESSONS STUDIO IN OCEAN, NEW JERSEY

Ocean location features on-site lessons, new repair services, and vast inventory selection

ANNOUNCEMENT HIGHLIGHTS:

Guitar Center has opened its 253rd store location in the U.S.
GC Garage service will provide a much-needed range of musical instrument repair services
GC Studios, first-ever GC lessons facility in Ocean to support local music scene, is at the store, located at 2323 New Jersey 66, Ocean, NJ 07712

(Los Angeles, CA) – Guitar Center, the world’s largest retailer of guitars, amplifiers, drums, keyboards, recording, live sound, DJ and lighting equipment, opened its 253rd location, in Ocean, New Jersey, on September 26, 2013. The store, located at 2323 New Jersey 66, Ocean, NJ 07712, is also part of a new wave of Guitar Center retail stores that feature lesson spaces, which allows GC to offer additional music lessons, special programs and expanded opportunities for local musicians.

OCEAN STORE LOCATION BACKGROUNDER:

Vast Product Selection and Low Prices – Guitar Center Ocean brings an unprecedented selection of products to Ocean, all backed by Guitar Center’s guarantee and available at attractive prices. The store features the latest in guitars, amplifiers, percussion instruments and keyboards, as well as live sound, DJ, lighting and recording equipment.
Guitar Center Studios – Deeply vested in expanding and enhancing the local music scene, Guitar Center Ocean also brings Guitar Center Studios to the new location. The fully-equipped, in-house lesson space is giving area residents of all ages and skill levels access to affordable music lessons. Sourcing locally trained store employees as certified instructors, courses will be offered on guitar, bass, keys and drums, as well as vocals and recording techniques using Pro Tools, Logic Pro and GarageBand.
Guitar Center Garage – Guitar Center Ocean includes GC Garage, the store’s on-site guitar repair service, offering a host of services, including electronics repair, hardware customization, fretwork, structural repairs, cosmetic enhancements, setup and maintenances.

Guitar Center Ocean: Additional In-Store Programs and Opportunities Include:

Guitar Center’s “Endless Aisle” – Ocean customers can now shop from Guitar Center’s new multi-channel “endless aisle,” which extends the in-store inventory to over $400 million in new and used products from across the nation. Shoppers will be able to purchase in-store, online and via phone, with the option to have products shipped to their home or to the store for convenient pick up.
At: Guitar Center Programs – Throughout the calendar year, Guitar Center Ocean will host an array of free events, such as artist workshops, lessons, product launches and performances, as a part of the company’s ongoing commitment to educating and assisting unsigned artists. These programs aim to provide musicians with the opportunities and exposure essential to achieving their music goals.
Recording Made Easy – Available at all Guitar Center locations, the Recording Made Easy program is a four-week, user-friendly series of weekly classes occurring Saturdays from 10:00 to 11:00 a.m.

In addition to special programs at the new Ocean store, Guitar Center offers year-round programs designed to spearhead creativity and highlight promising undiscovered talent. Ocean residents will now be able to participate in these ongoing events from their hometown. Programs have included Your Next Record, Guitar Center On-Stage, Guitar Center Singer-Songwriter, Guitar Center’s Battle of the Blues and Guitar Center’s Drum-Off.

Guitar Center Ocean Store and Studio Hours
Mon-Sat: 10 AM-8 PM
Sun: 11 AM-6 PM

Special Events to Be Highlighted at the 135th Audio Engineering Society Convention

— The GRAMMY SoundTables® event, the Platinum Producers Panel, the economics of record production, reality-TV sound, the Project Studio Expo, keynotes and presentations from Jimmy Jam, Bruce Swedien,
Young Guru and more are in store —

New York, NY, October 11, 2013 — The schedule of special events is full at the 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City). Attendees at the show will be treated to a wide range of events featuring leaders from every category of pro audio.

• Keynotes begin on Thursday, Oct. 17, with opening remarks and welcomes from AES Executive Director Bob Moses, AES President Frank Wells and AES Convention Chair Jim Anderson and a presentation, “Understanding Audition via Sound Synthesis,” from noted researcher Josh McDermott, Department of Brain and Cognitive Sciences, MIT. The next day, five-time GRAMMY® Award winner Jimmy Jam will address “The Current and Future Direction of the Recording Process from an Artist, Engineer, and Producer’s Perspective.” On Saturday, five-time GRAMMY winner and 13-time GRAMMY nominee Bruce Swedien will hold a candid talk, “I Have No Secrets.”

• The Recording Academy® Producers & Engineers Wing® will present its annual GRAMMY SoundTables® event on Saturday, October 19, from 2:30 pm – 4:00 pm in Room 1E15/16. This year’s presentation is titled “What Would Ramone Do?” Hosted by BJ Ramone and Elliot Scheiner, this educational and inspirational career retrospective will delve into the music, creativity, and vision of legendary 14-time GRAMMY Award winning producer/engineer/technologist Phil Ramone. Presenters include Jimmy Jam, Bob Ludwig, Al Schmitt, Frank Filipetti, Leslie Ann Jones, Jim Boyer, Jill Dell’Abate & Rob Mathes, Peter Chaikin and Mark Ethier.

• The musical continuum, and its role in music production, comes into focus at this year’s Platinum Producers Panel, Saturday, October 19, 11:30 am to 1:30 pm (Room 1E15/16). How does an understanding of music’s past, present, and future serve the producer in their quest to fully realize the artist’s vision? We’ll go deep with this elite panel of Jeff Jones (Eric Clapton, Wynton Marsalis, Norah Jones), ROBOPOP (Gym Class Heroes, Maroon 5, Lana Del Ray), and Dave Tozer (John Legend, Kanye West, Justin Timberlake), and moderated by David Weiss (Founder/Editor of SonicScoop). Their collective experience spans decades and has produced hit singles and albums in rock, R&B, hip-hop, pop, jazz, and beyond. From their application of classic techniques to late-breaking revelations, this trio of hit makers will provide inside information on tracking, mixing, mastering, and getting the very best out of artists in the studio.

• This year’s Platinum Engineers Panel, which takes places on Friday, October 18, 2:30 pm to 4:30 pm (Room 1E15/16), will be moderated by Justin Colletti (SonicScoop). The panel will feature four of the industry’s leading engineers and mixers, who will examine their own works and offer insights into how great records are created. The lineup is scheduled to include: Chris Coady (The Yeah Yeahs Yeahs, TV on the Radio); Patrick Dillett (David Byrne and St. Vincent, Fatboy Slim, Mariah Carey, Notorious B.I.G.); Tom Elmhirst (Adele, Amy Winehouse, Lily Allen); and Manny Marroquin (Bruno Mars, Kanye West, John Mayer).

• On Sunday, October 20, from 1:30 pm to 3:00 pm in Room 1E15/16, Young Guru will present “Era of the Engineer.” Revered as “The Sound of New York,” Young Guru possesses over a decade of experience in sound engineering and production for the acclaimed Roc-A-Fella Records and Def Jam Recordings. Through his lecture and demo series, Guru examines the recent emergence of a new generation of do-it-yourself engineers, analyzing and demonstrating what it means for the culture at large.

• “Producing Across Generations: New Challenges, New Solutions—Making Records for Next to Nothing in the 21st Century” will bring studio veterans Nick Sansano, Frank Filipetti, Jesse Lauter, Carter Matschullat, Bob Power and Hank Shocklee together to open the discussion about artist empowerment and shaping one’s destiny.

• “The State of Mastering” gets its due via a panel consisting of some the category’s biggest names, including Moderator Bob Ludwig, Sterling Sound’s Greg Calbi, Darcy Proper from Wisseloord Studios, Doug Sax of The Mastering Lab and Tim Young from Metropolis Mastering, who will discuss how mastering now encompasses prepping music for streaming, special “Mastered for iTunes” downloads, and high-resolution files for vinyl disk cutting, HDtracks, and Pure Audio Blu-ray masters.

• Find out what’s happening on the broadcast audio front when the DTV Audio Group Forum gets together to focus on the shifting landscape in TV audio brought about by the transition to multi-platform mobile and fixed streaming content delivery. You can also sit in as the Broadcast & Streaming Media Track presents “Sound for Deadliest Catch—Reality Is Hard Work.”

• Don’t have a million-dollar multiroom recording facility? The AES Show has you covered: presented in conjunction with Sound On Sound magazine, the second annual Project Studio Expo will bring together the top people, tools, and techniques for the DIY recordist.

“Those coming to this year’s AES Convention will be very pleasantly surprised by the breadth and depth of the special events we’ve planned around the show,” says AES Executive Director Bob Moses. “There’s something for everyone, and a wide range of pro audio aspects are reflected in these special-event sessions. You’re going to like what you see, hear and experience.”

A complete list of the very special events at the upcoming AES Convention can be found here. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

The Platinum Engineers and Platinum Producers Panels at the 135th Audio Engineering Society Convention Offer Conversations with the Leading Lights Behind the Boards

— Hosted by SonicScoop, these panels brings together engineers Chris Coady, Patrick Dillett, Tom Elmhirst and Manny Marroquin; and producers Jeff Jones, ROBOPOP and Dave Toser —

New York, NY, October 11, 2013 — The Platinum Engineers Panel and Platinum Producers Panel have long been staples of AES Convention special event programs and will continue to be a huge draw at this year’s 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City).

This year’s Platinum Engineers Panel, which takes places on Friday, October 18, 2:30 pm to 4:30 pm (Room 1E15/16), will be moderated by Justin Colletti of leading online pro audio publication SonicScoop. The panel will feature four of the industry’s leading engineers and mixers, who will examine their own works and offer insights into how great records are created. The lineup is scheduled to include:

Chris Coady (The Yeah Yeahs Yeahs, TV on the Radio, Grizzly Bear, Blonde Redhead, Beach House, Delorean, Gang Gang Dance, Zola Jesus, and …And You Will Know Us By the Trail of the Dead)
Patrick Dillett (David Byrne and St. Vincent, Julia Stone, They Might Be Giants, Fatboy Slim, Bebel Gilberto, Plácido Domingo, The B-52s, Danny Elfman, Santana, Nile Rodgers, KRS-One, Mariah Carey, Mary J. Blige, and Notorious B.I.G.)
Tom Elmhirst (Adele, Amy Winehouse, Lily Allen, The Black Keys, Dido, Mark Ronson, Cee Lo Green, Lana Del Ray, The Civil Wars, Jónsi, Michael Bublé, Charlotte Gainsbourg and Quincy Jones)
Manny Marroquin (Bruno Mars, Kanye West, John Mayer, Shakira, Maroon 5, Rihanna, Pink, Miley Cyrus, Alicia Keys, Justin Bieber, The Rolling Stones and John Legend)

The Platinum Producers Panel will be moderated by SonicScoop’s Founder/Editor David Weiss and will take place Saturday, October 19, 11:30 am to 1:30 pm (Room 1E15/16). The panelists’ collective experience spans decades and has produced hit singles and albums in rock, R&B, hip-hop, pop, jazz, and beyond. From their application of classic techniques to late-breaking revelations, this trio of hit makers will provide inside information on tracking, mixing, mastering, songwriting and getting the very best out of artists in the studio. Scheduled to participate are the following:

Jeff Jones (Eric Clapton, Wynton Marsalis, Norah Jones)
ROBOPOP (Gym Class Heroes, Maroon 5, Lana Del Ray)
Dave Tozer (John Legend, Kanye West, Justin Timberlake)

The Platinum Engineers Panel and Platinum Producers Panel create reference points at each successive AES Convention that provide the industry with a year-to-year transparent look inside the complex process of music production. “It’s a kind of living history that takes us inside not only the studio but also the artists’ minds, as they collaborate with those who are the interlocutors between art and technology,” observes Bob Moses, Executive Director of the Audio Engineering Society. “These are always great panels.”

For more information on the Platinum Engineers Panel, please visit http://www.aes.org/events/135/specialevents/?ID=3689. For more information on the Platinum Producers panel, please visit http://www.aes.org/events/135/specialevents/?ID=3704. For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

Opening Keynote of the 135th Audio Engineering Society Convention to Focus on the Science of Hearing

— Josh McDermott, Department of Brain and Cognitive Sciences, MIT, to present “Understanding Audition via Sound Synthesis” —

New York, NY, October 10, 2013 — The opening ceremonies of the 135th Audio Engineering Society Convention (Thursday, October 17, 1:00 pm to 2:00 pm, in Room 1E15/16 at the Javits Center in New York City) will feature a keynote address by Josh McDermott, Department of Brain and Cognitive Sciences, MIT. The presentation will be titled “Understanding Audition via Sound Synthesis.”

Josh McDermott is a perceptual scientist studying sound, hearing and music. His research addresses human and machine audition using tools from experimental psychology, engineering, and neuroscience. He is particularly interested in using the gap between human and machine competence to both better understand biological hearing and design better algorithms for analyzing sound. McDermott obtained a BA in Brain and Cognitive Science from Harvard, an MPhil in Computational Neuroscience from University College London, a PhD in Brain and Cognitive Science from MIT, and postdoctoral training in psychoacoustics at the University of Minnesota and in Computational Neuroscience at NYU. He is the recipient of a Marshall Scholarship, a National Defense Science and Engineering fellowship, and a James S. McDonnell Foundation Scholar Award. He is currently an Assistant Professor in the Department of Brain and Cognitive Sciences at MIT.

The opening ceremonies will also feature the presentation of awards and remarks from Bob Moses, AES Executive Director, Frank Wells, AES President, and Jim Anderson, Chair of the 135th AES Convention.

“We are very much looking forward to this year’s convention, and the opening ceremonies will be a fitting kickoff to the biggest audio event of the year,” stated Anderson. “Josh McDermott is an expert on the science of human hearing; his research has far-reaching implications for other researchers, manufacturers and technological innovators, and it will serve the convention well to place the weekend’s proceedings in this context.”

For further information on the 135th AES International Convention, and to register for your free Exhibits-Plus badge or the premium All-Access badge, please visit http://www.aes.org/events/135/.

RTW’s TM3 TouchMonitor is a Scream for ScareHouse

Sound Designer Glenn Ricci Trusts Audio Meter to Check Loudness Levels For Popular Haunted House’s Sound Effects

PITTSBURGH, PENNSYLVANIA, OCTOBER 15, 2013 – As Glenn Ricci, the sound effects designer for ScareHouse, named by the Travel Channel as one of the top five haunts in the country, will tell you, sound is just as important as the visual element when it comes creating a convincingly eerie, skin-crawling atmosphere. Helping him raise the hackles of ScareHouse attendees is the TM3 TouchMonitor from RTW, a leading vendor of visual audio meters and monitoring devices for professional broadcast, production, post production and quality control.

Located in a supposedly haunted former Elk’s Club lodge in Pittsburgh, ScareHouse treats visitors to Hollywood-quality sets, characters and special effects that lend a high degree of realism (and terror). Its primary attractions include an entire haunted town, a demented anti-Santa, an alternate, zombified replica of Pittsburgh and a very nefarious basement. Human actors portray ghosts, zombies, ghouls and other evil night dwellers, sometimes grabbing at visitors for an especially authentic fright. The scares just wouldn’t be the same, however, without foreboding music, evil-sounding cackles and similar soundscapes setting the mood. Because of the importance these sound effects play, Ricci must ensure that the soundscapes he creates are smooth and the audio is on the level.

“I draw from a lot of different elements when I’m creating something for the show, so it’s important to even out the loudness levels for each source to make it sound cohesive,” says Ricci. “I might record or mix something using my own compositions, stuff from different sound libraries or even canned music, so I want to deliver a very smooth end product without uneven loudness in the final mix. I don’t want to worry about someone hitting play and not hearing the sound because it’s not as loud as the last thing they played. RTW’s TM3 really gives me the peace of mind of knowing everything is crisp, clear and even.”

Controlled using a touch-sensitive display, the TM3 features a 4.3-inch touchscreen and a stylish exterior allowing for horizontal and vertical placement. It includes a large number of graphical and numerical instruments showing single-channel along with summing-loudness bargraphs, PPM, true peak, SPL, loudness range (LRA), dialnorm and correlation. It handles analog or digital stereo signals and features a user interface allowing the selection of up to 10 presets quickly and simply with the swipe of a finger.

“I was pretty amazed with the pre-set capabilities,” says Ricci. “I like that I can program the device to customize pre-sets for me. It makes it more intuitive—you can just go and don’t have to think about it. You just spend a little bit of time setting it up based on the instruments that you plan to work with, and don’t have to think about it after that. It’s good to get different perspectives to just go between a couple of pre-sets.”

The TM3 also offers Ricci a way to ensure consistent loudness across the various software programs he uses. “What I like about having it here is that I never have to worry about what software program I’m using. I use a lot of software programs, such as Logic Pro and Abelton Live for some composition, and they all have different meters in them, so having one consistent meter that lives outside of it all is really helpful. It means I don’t have to check of the meters from a separate plug-in, which saves me time.”

“We love that RTW’s TM3 meter has not only helped improve Glenn’s workflow but that it being used to smooth the sound for such an interesting project,” says Christopher Spahr, U.S. Director of Sales and Operations, RTW. “His work for ScareHouse is a great example of how the TM3, along with the entire line of TouchMonitors, can be used outside of a traditional broadcast setting, lending a hand to sound engineers working on their mixes in post-production. It’s really a win-win for everyone involved.”

About RTW
For more than 45 years, Cologne-based RTW has accompanied the steady technological progress in the professional audio industry with innovative instruments and technologies for visual audio monitoring in broadcast, production, post production and quality control. Its state-of-the-art audio and loudness metering systems have an excellent reputation throughout the world. With groundbreaking products such as the Surround Sound Analyzer, the company has been a key vendor of professional broadcast and audio metering equipment for decades.

RTW’s range of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.

As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

For more information on RTW, visit www.rtw.de, www.facebook.com/rtw.de or call +49 221 709130. For more information on RTW International Corp., visit www.rtw.com or call 877-938-7221.

About

The Radio magazine The Wire provides information from manufacturers and associations about industry news, products, technology and business announcements. The information shown here is posted by companies and their representatives and are not edited or previewed by the Radio magazine staff. The content providers are solely responsible for the content of their posts. If you would like your company's news and information to appear here, contact us.

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