Archive for October 17th, 2013

Jimmy Jam to Give Friday’s Opening Keynote at AES Convention, 11:00 a.m. EDT

— Five-time GRAMMY Award winner Jimmy Jam is a renowned songwriter, record producer, musician, entrepreneur and, with Terry Lewis, part of the most influential and successful writing/producing duo in modern music history —

— Keynote address titled “The Current And Future Direction Of The Recording Process from an Artist, Engineer and Producer’s Perspective” will address the intersection of technology and creativity —

New York, NY, October 17, 2013 — On Friday, October 18, 2013, the 135th Audio Engineering Society Convention at the Javits Center in New York City will feature a keynote address by Jimmy Jam, a five-time GRAMMY® Award winner and a renowned songwriter, record producer, musician, entrepreneur and half of the most influential and successful writing/producing duo in modern music history. Taking place at 11:00 a.m. in Room 1E15/16, the presentation will be entitled “The Current And Future Direction Of The Recording Process from an Artist, Engineer and Producer’s Perspective.”

Since forming their company Flyte Tyme Productions in 1982, Jam and partner Terry Lewis have collaborated with such diverse and legendary artists as Janet Jackson, Mary J. Blige, Gwen Stefani, Michael Jackson, Robert Palmer, Mariah Carey, Boyz II Men, Rod Stewart, Yolanda Adams, Sting, Heather Headley, Usher, Celine Dion, Kanye West, Chaka Khan and Trey Songz, among others. Jimmy and Terry have written and/or produced over 100 albums and singles that have reached gold, platinum, multi-platinum, or diamond status, including 26 No. 1 R&B and 16 No. 1 pop hits, giving the pair more Billboard No. 1′s than any other duo in chart history.

Jimmy Jam’s AES Keynote address will focus on the current and future direction of the recording process from various perspectives. As a songwriter, artist, producer and engineer, Jimmy is uniquely qualified to give a bird’s-eye view of how each of these “personalities” interact and contribute to the overall final product, and along the way, how technology has evolved and what it has meant to his craft.

“Of course it all starts with a great song, but then, it’s important to consider how and what technology should be used to capture that creativity,” stated Jam. “It’s that intersection between the technology and creativity that I have always looked at every day throughout my career. Ultimately, it’s my job as a artist/producer to have those two elements meet and not crash – And that’s when you’re using the available technology to capture the artist in their purest form.”

For further information on the 135th AES International Convention, please visit http://www.aes.org/events/135/.

DPA Microphones’ 4066 and 4088 Get “d:branded”

Company upgrades its Miniature Headset Microphones and absorbs them into the d:fine™ line

NEW YORK, OCTOBER 18, 2013 – DPA Microphones announces at the 135th International AES Convention (Booth 2551) that its 4066 and 4088 Miniature Headset Microphones will now join the company’s d:fine™ Headset Microphone family. As part of its rebranding efforts, the mics will also receive a facelift to coincide with the more contemporary look and feel of the existing d:fine line.

When DPA Microphones originally launched its d:fine Headset Microphones, company executives expected that they would replace the sales of the 4066 and 4088s. Instead, the original miniature headsets are still booming with popularity and the d:fines are being treated by loyal customers as separate, equally admired products. As a result, DPA Microphones decided to “go all in” and implement all headsets (4088 and 4066) into the d:fine Headset Microphone group. The upgrades to these mics feature a combination of the modern d:fine mechanics, headset mount and ear hook, with the sound capabilities of the classic microphone capsules from the 4066/4088.

“We launched the d:fine Headset Microphones a few years ago and selected the name based on a feeling that the microphone would define a new generation of headsets,” says Christian Poulsen, CEO of DPA Microphones. “It certainly did meet our expectations, but what we didn’t plan on was our customers’ loyalty to our 4066 and 4088 mics. So we decided to give these mics a facelift and incorporate them into the d:fine family. With the upgrades, all four capsules (two omnis and two cardioids) have a variety of options in terms of sound color, dynamic range, size, cleaning issues and so on. In other words, with this ‘new’ d:fine group, all combinations of style and sound are possible.”

The DPA d:fine 4088 Directional Headset Microphone is a miniature cardioid headset mic built on the finest DPA experiences in microphone design and manufacturing, providing the best sounding directional headworn microphone available today for performing talent of various sorts. The d:fine 4066 Omnidirectional Headset Microphone is a flexible miniature microphone solution that features quick and easy adjustment. Like its original d:fine sister, 4066 offers both left and right mounting, color change and now also single or dual-ear functionality.

ABOUT DPA:
DPA Microphones is the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications. DPA’s ultimate goal is to always provide its customers with the absolute finest possible microphone solutions for all its markets, which include live sound, installation, recording, theatre and broadcast. When it comes to the design process, DPA takes no shortcuts. Nor does the company compromise on its manufacturing process, which is done at the DPA factory in Denmark. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability and, above all, pure, uncolored and undistorted sound.

For more information on DPA Microphones, please visit www.dpamicrophones.com

SSL Features New LMS-16 Multi-Channel Loudness and True Peak Monitoring System at 135th International AES Convention

16×5.1 Channel System Delivers Comprehensive Compliant Metering in a Powerful, Robust Turnkey System

NEW YORK – Solid State Logic, the world’s leading manufacturer of advanced tools for audio professionals, will feature the new ‘LMS-16’ multi-channel Loudness and True Peak metering system for use with the company’s Digital Broadcast Consoles, or as a stand-alone product, at the 135th International AES Convention (Booth 2821). Created through a strategic partnership with NUGEN Audio, a creator of award winning professional audio plugins and metering software for the creative music producer, sound designer or broadcast engineer, the LMS-16 offers NUGEN Audio’s new ‘MultiMonitor’ software as part of a turnkey system that can augment any production situation where loudness compliance for broadcast is essential. The software is pre-installed and configured on a dedicated industrial strength 1RU PC, fitted with SSL’s ‘MadiXtreme 128’ audio interface with metering information displayed on virtually any connected flat screen video monitor. An optional monitor arm will also be available to facilitate convenient side mounting of a screen on C100 HDS or C10 HD consoles.

The next evolutionary step for NUGEN Audio’s highly regarded ‘VisLM’ software, MultiMonitor provides the most powerful multi-channel Loudness and True Peak metering available today. It offers 16 individual meters, each capable of mono, stereo or 5.1 formats (providing metering of up to 96 audio channels simultaneously), with each meter showing a LUFS momentary display alongside a True Peak display. Each meter also has a dedicated numeric Short Term and Integrated LUFS data display, with the option to color-code meters to aid grouping. Each meter also features a minimum and maximum short term alerts function. MultiMonitor is fully compliant with CALM Act legislation, ITU-R BS1770/1, ATSC A/85, EBU R128 and other specific worldwide localisations.

SSL’s LMS-16 offers the advanced metering capability of MultiMonitor software in a fully configured and tested turnkey system based on an extremely powerful and robust 1RU PC with very low noise fans, a 15 second boot time and pre-built restore partition. Professional loudness metering of 96 channels of audio (@ 48 kHz) requires an exceptional amount of processing power and this pre-configured and fully tested PC delivers. Audio I/O to the system is provided by SSL’s MadiXtreme 128 audio interface, offering 2 x 64 channel fibre connections. GPI connectivity for GPI reset provides seamless integration with SSL consoles and other GPI enabled equipment.

SSL’s LMS-16 is ideal for monitoring multiple playback sources or Audio Sub Groups simultaneously with 5.1 and Stereo PGM output, alongside the console in the Audio Control room, or equally suited in the Master Control room, monitoring multiple studios and formats simultaneously.

Solid State Logic is the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for music, broadcast and post production professionals. For more information about our award-winning products, please visit: www.solidstatelogic.com.

Sound Devices Introduces Improved Features for 664 Production Mixer at AES 2013

Latest Firmware Update Offers Enhanced Functionality

NEW YORK, OCTOBER 17, 2013 — Sound Devices, experts in portable audio and video products for field production, presents expanded recording capabilities, along with greater flexibility and ease-of-use outdoors for the company’s flagship 664 Production Mixer. Sound Devices showcases the benefits of the 664’s latest firmware update, Version 1.05, at the 135th International AES Convention (Gotham Sound and Communications, Booth 2738).

Sound Devices 664 features six ultra-low-noise, high-dynamic-range preamps that accept mic- or line-level signals and include analog peak limiters, high-pass filters, input trim control and direct outputs per channel. Featuring full analog audio paths for high-performance audio and superb power efficiency, the 664 also has numerous digital capabilities. Inputs 1 and 6 can be selected as AES3 or AES42 inputs for digital microphones, each with its own SRC for simplicity in system clocking. The 664’s analog output compliment includes four output buses. The L and R buses are on balanced XLR, 10-Pin and TA-3M connectors and on unbalanced TA-3M or 3.5mm connectors. Secondary output buses X1 and X2 are available on balanced TA-3M connectors. Users can route inputs and buses to four AES3 connections for eight digital outputs on the XLR and 10-pin connectors.

Firmware version 1.05 brings additional features to the already-powerful mixer, including greater flexibility and ease-of-use outdoors. The “LCD Daylight Display” mode incorporates a daylight-specific color scheme and solid bar metering option for improved readability in direct sunlight. Sound Devices has also incorporated additional front panel button shortcuts, including “LCD Daylight Display” mode (HP + SELECT encoders) and Phrase list (HP + RTN B/C) for fast entry of metadata notes. Version 1.05 also incorporates the shortcut for activating different setup tone modes. Users also have new “Track Names in Meters” options (without color gradient/ramp) that are selectable for either right- or left-side display.

With version 1.05, 664 now offers users Monophonic Broadcast WAV file support, with the ability to record up to 10 tracks to two cards, with up to three seconds of record pre-roll. If a card not optimized for multi-channel monophonic file recording is used, or if the monophonic 10-track limit is exceeded, a warning message is displayed on the LCD when starting a recording. Polyphonic mode or reducing track count is recommended. In addition, when formatted in the 664, SD cards 64 GB and larger are now automatically formatted as ExFAT (in accordance with the SD Association’s recommendation). All CF cards and lower-capacity SD cards remain FAT32. Version 1.05 also enables a Headphone Volume or Headphone Preset default option, which sets the HP encoder to operate as headphone level or to select HP presets when rotated. Pressing the headphone encoder momentarily activates the alternative function.

Existing 664 users can download version 1.05 for free by visiting http://www.sounddevices.com/download/664-firmware/.

Sound Devices, LLC designs and manufactures portable audio mixers, digital audio recorders, and digital video recorders and related equipment for feature film, episodic television, documentary, news-gathering, and acoustical test and measurement applications. Founded in 1998, the company designs and manufactures from their Reedsburg, Wisconsin headquarters with additional offices in Madison, WI and Highland Park, IL. For more information, visit the Sound Devices website, www.sounddevices.com.

RTW Delivers 145 TM3 TouchMonitor Units to WDR

Feature-Rich Pro-Grade Loudness Meters Prove to Be Practical Administration Solution

COLOGNE, GERMANY, 17 OCTOBER 2013—RTW, a leading vendor of visual audio meters for professional broadcast, production, post production and quality control, has delivered 145 TM3 TouchMonitor units to German broadcaster WDR, Europe’s second-largest broadcaster after the BBC. The units, which WDR has installed in its regional studios and editing suites, enable the broadcaster to comply with EBU R128 loudness metering.

With the development of EBU R128, the audio metering reference has shifted from PPM to loudness, with a peak level (QPPM) of –9 dBFS to a loudness target of –23 LUFS (Loudness Unit Full Scale). Since August 2012, when all German broadcasters agreed to implement EBU R128-compliant loudness metering, WDR has employed a large number of TM7 and TM9 units. Installing the TM3 for EBU R128-compliant loudness metering in smaller editing suites was a natural next step.

WDR opted for the TM3, the smallest member of the TouchMonitor family, because it offers not only PPM and true-peak meters, but also supports all current loudness metering functions compliant with the major international standards (including EBU R128, ITU-R BS.1770-3/1771, ATSC A/85 and ARIB) for up to six channels. The broadcaster also liked that the TM3 could display measurements by single channels, summing bar graphs, loudness range or numerically, with the capability of separating displays as needed for easy viewing by multiple users. The TM3’s flexibility and easy-to-use setup software, which offers customizable administrative support, was also a factor in its purchase.
“The display provides excellent readability and the software offers great views for a large number of applications,” says Friedrich Neher, head of the master unit service group at WDR. “In addition, the similarity to the TM7 and TM9 units already in use at WDR was an attractive point. Also, we liked the idea of using the TM3 as a standalone device. The separation of the display unit and the breakout box were critical, as this considerably increases the flexibility compared to competing products.”
Martin Leuenberg, head of sales at RTW, also noted that while plug-in solutions might seem like a realistic alternative, they have two major drawbacks. “First, any user can change presets or the setup. Second, this would have added another GUI to an already cluttered screen area,” he says. “While you might think that an integrated plug-in would ensure clarity, it comes at the cost of precious display area.”
As freelancers and full-time employees share the same work areas at WDR, the company requires a powerful administration solution to ensure seamless workflows. The Devicer DC1 setup software component for the TM3 allows for preset customization, allowing users to configure administration rights for the application, making sure that only authorized employees can change the setup.
RTW’s TM3 TouchMonitor comprises a horizontally or vertically mounted display unit for easy readability along with a separate interface box. The meter handles analog (balanced or unbalanced) as well as digital stereo signals (AES, S/PDIF). The TM3-6CH version accepts up to six AES3 input signals. The easy-to-use interface ensures fast and intuitive touch operation. The supplied factory presets provide a good set of samples for the supported applications, connection options and standards, and also allow for out-of-the-box operation. Plus, the existing presets can be customized easily using the Devicer DC1 software for Windows and Mac OS.

About WDR
WDR in Cologne, with a broadcast center in Düsseldorf, eleven regional studios, and five regional offices concerns itself with dependable reporting on the current topics of interest in the state of North Rhine-Westphalia. Events of the day from around the world are chronicled on WDR Television in reports from ARD Network studios in 29 foreign nations. The operation of eight of these correspondent’s offices is the direct responsibility of WDR.

Renowned for its top-quality regional, national and international journalistic excellence, the WDR trademark stands for up-to-the-minute, knowledgeable, and reliable reporting. In addition to news and current affairs, entertainment and cultural programs are also important elements of the programming presented on WDR radio, television, and via the internet at www.wdr.de.

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 ranges 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.

Hal Leonard Publishes The Invention of the American Guitar

The Pre-Civil War Innovations of C. F. Martin and His Contemporaries edited by Robert Shaw and Peter Szego

Montclair, NJ (October 17, 2013) - In time for C. F. Martin and Co.’s 180th anniversary this October, Hal Leonard Books is publishing Inventing the American Guitar ($50), the first book to describe the early history of American guitar design in detail. With essays by prominent writers and spectacular color photographs of almost fifty guitars, many of which are newly discovered, this book tells the story of how a European instrument was transformed into one with all of the design and construction features that define the iconic American flat-top guitar – all within a mere twenty years.

The person who dominates this history is C. F. Martin Sr., America’s first major guitar maker and the founder of the Martin Guitar Company, which continues to produce outstanding flat-top guitars today. After emigrating from his native Saxony to New York in 1833, Martin quickly established a guitar-making business, producing instruments modeled after those of his mentor, Johann Stauffer of Vienna. By the time he moved his family and business to rural Pennsylvania in 1839, Martin had absorbed and integrated the influence of Spanish guitars he had seen and heard in New York. In Pennsylvania, he evolved further, inventing a uniquely American guitar that was fully developed before the outbreak of the Civil War.Inventing the American Guitar traces Martin’s evolution as a craftsman and entrepreneur and explores the influences and experiments that led to his creation of the American guitar that is recognized and played around the world today.

The book includes fold-out pages of schematic drawings of two early Martin guitars: the Austro-German Style Martin Guitar and the Spanish Style Martin Guitar. An additional forty-five two-page color profiles of important guitars, including detail photos, measurements, and bracing diagrams, fill this beautiful coffee table hardcover. Contributing essayists include David Gansz, an expert on early American guitar maker James Ashborn; Antiques Roadshow appraiser and Martin expert Richard Johnston; luthier and early Martin and Spanish guitar scholar David LaPlante; Arian Sheets, Curator of Stringed Instruments at the National Music Museum, University of South Dakota; and James Westbrook, a scholar of 19th-century European guitar making.

About the editor
PETER SZEGO is a connoisseur, collector, and player of 19th-century American banjos and guitars who headed the team that created the book. He lives in Princeton, NJ and is available for interview.

About Martin Guitar

C.F. Martin & Co. (www.martinguitar.com) has been creating the finest instruments in the world for 180 years. It continues to innovate, introducing techniques and features that have become industry standards, including X-bracing, the 14-fret guitar and the “Dreadnought” size. One of the world’s leading acoustic instrument makers, Martin guitars are hand-made by skilled craftsmen and women, who use a combination of new design and techniques along with those introduced by the company founder. The company is also known for producing high-quality, popular acoustic guitar strings. These include the Martin SP® LIFESPAN™ line, the fastest-growing treated string in the industry, and the Martin SP line, which uses an industry leading core wire to hold tunings better. Martin guitars and Martin strings are the instruments and strings of choice for musicians around the world, from the icons of rock, country, folk and bluegrass to those just beginning their careers. They can be seen across all segments of pop culture, from television (Glee, Psych, Raising Hope and American Idol) to the movies, on Broadway and in books, online, and gracing the covers of popular magazines on newsstands everywhere. Connect with Martin and Martin Strings on Facebook, Twitter, Tumblr, YouTube and via www.martinguitar.com and www.martinstrings.com.

Inventing the American Guitar
Hardcover
ISBN 9781458405760
308 pages, 10.5″ x 11″, 4-color, heavily illustrated throughout

Hal Leonard Books is an imprint of Hal Leonard Performing Arts Publishing Group
www.halleonardbooks.com | onstageandbackstage.wordpress.com

Please contact Music Marcom for interviews with Peter Szego, print excerpts and review copies:
Music Marcom
Martina McConnon
v: 610-577-4982
e: martina@musicmarcom.com

135th Audio Engineering Society Convention Opening Ceremonies Includes Presentation of Annual AES Awards

— AES Awards to honor individuals of distinction in the AES organization and the wider art
and science of audio engineering —

New York, NY, October 16, 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) features the presentation of this year’s AES Awards, along with remarks from AES Executive Director Bob Moses, AES President Frank Wells, and AES 135th Convention Chair Jim Anderson, as well as a keynote address from noted audio researcher Josh McDermott. The award ceremony will be hosted by Jim Kaiser, AES Awards Committee Chair.

The awards include the following:

The GOLD MEDAL AWARD, given in recognition of outstanding achievements, sustained over a period of years, in the field of audio engineering, is being presented to:

FLOYD TOOLE in recognition for outstanding contributions to theory, practice, and international standards in the area of subjective and objective evaluation of loudspeakers in rooms.
RUDOLPH VAN GELDER in recognition for creating the legendary sound of jazz during six outstanding decades of recording.

The SILVER MEDAL AWARD, given in recognition of outstanding development or achievement in the field of audio engineering, is being presented to:

LAURENCE FINCHAM in recognition for a sustained series of significant contributions to electroacoustics and signal processing in the area of domestic sound reproduction.

The BOARD OF GOVERNORS AWARD, given for outstanding contributions to the Audio Engineering Society, is being presented to:

WILLIAM CRABTREE in recognition of co-chairing the 50th International AES Conference “Audio Education” in Murfreesboro, TN, USA, on July 25–27, 2013.
MICHAEL FLEMING in recognition of co-chairing the 50th International AES Conference “Audio Education” in Murfreesboro, TN, USA, on July 25–27, 2013.
JANOS GYORI in recognition of his chairing the 132nd International AES Convention in Budapest, Hungary, on April 26–29, 2012.
MICHAEL KELLY in recognition of his chairing the 49th International AES Conference “Audio for Games” in London, UK, on February 6–8, 2013.
JIM MCTIGUE in recognition of co-chairing the 133rd International AES Convention in San Francisco, CA, USA, on October 26–29, 2012.
JAN ABILDGAARD PEDERSEN in recognition of his chairing the 48th International AES Conference “Automotive Audio” in Munich, Germany, on September 21–23, 2012.
VALERIE TYLER in recognition of co-chairing the 133rd International AES Convention in San Francisco, CA, USA, on October 26–29, 2012.
UMBERTO ZANGHIERI in recognition of his chairing the 134th International AES Convention in Rome, Italy, on May 4–7, 2013.

The FELLOWSHIP AWARD, given to a member who has rendered conspicuous service, or is recognized to have made a valuable contribution to the advancement in or dissemination of knowledge of audio engineering or in the promotion of its application in practice, is being presented to:

THERESA LEONARD for her professional achievements and dedication to the Audio Engineering Society and to its education initiatives.
JOEL A. LEWITZ For contributions to the design of electroacoustics systems in architectural spaces, teaching and mentoring within the industry, and long association with the AES.
TIMOTHY SHUTTLEWORTH for significant contributions to digital audio product design and many years of service to the AES.

The CITATION AWARD, given in recognition of services or accomplishments that do not fit into any of the above categories, is being presented to:

BOZENA KOSTEK in recognition for her outstanding efforts as Editor to improve the quality, responsiveness, and impact of the Journal of the AES.

The HONORARY MEMBER designation, given to persons of outstanding repute and eminence in the science of audio engineering or its allied arts, is being given to:

RONALD E. UHLIG in recognition of his pioneering engineering achievements to enhance the film sound experience for the audience, including the development of international standard setting technology that allowed stereo variable area soundtracks to replace monaural film sound, and later, the development of digital data read/write capability for 35mm digital audio.

135th Audio Engineering Society Convention to Feature FREE Knowledge Center Presentations

— At The Knowledge Center, attendees will be treated to “information-rich” seminars and presentations on a wide variety of subjects and will include product information, demonstrations, product training, general
applications training and more —

New York, NY, October 16, 2013 — The upcoming 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) serves many functions to its attendees, but perhaps first and foremost it is where the broad worldwide audio community comes together to share knowledge and promote a healthy evolving industry. To that end, The Knowledge Center is a symposium where companies will share information on essentially any audio subject, including product debuts and information, demonstrations, product training and general applications training.

Knowledge Center events take place in Room 1E03 and include:

Friday, October 18, 11 am to 12:30 pm, iZotope Presents: Tips from a Pro: LIVE! Audio Woes in Music and Post Production. In a discussion led by Jonathan Wyner (Mastering Engineer, M-Works Mastering), Chris Shaw (Engineer and Producer: Bob Dylan, Leonard Cohen) and Jared Bartlett (Post Production Mixer, Clean Cuts) share their stories of audio gone wrong and how they saved the take. Hear about their audio production processes and see how their perspectives, from an array of audio job titles, can be applied to your audio workflow.

Saturday, October 19, 10 am to 11 am, Hal Leonard Corporation Presents: The Musical iPad.
Thousands of music apps—designed to assist you with every aspect of your life as a musician, hobbyist, student, or educator—are available for the iPad. Thomas Rudolph and Vincent Leonard guide you step by step through the most popular and productive musical apps for the iPad, demonstrating how to apply them in your musical life.

Saturday, October 19, 11 am to 12 pm, Hal Leonard Corporation Presents: Ableton Grooves
Ableton Grooves empowers you to create realistic-sounding drum grooves using Ableton Live and the Ableton Grooves Drum Racks, specifically created by certified Ableton Live trainer and presenter Josh Bess. The concepts demonstrated by Bess become stepping-stones to a new way of thinking and creating while introducing diverse groove styles.

Saturday, October 19, 1 pm to 2 pm, iZotope Presents – Tips from a Pro: LIVE! Sound Design for Trailer Music. Chances are, you’ve heard the work of Anthony Baldino in blockbuster movie trailers (Star Trek: Into Darkness, Zero Dark Thirty) or in your favorite video games (Tom Clancy: Splinter Cell Blacklist). Touching on topics such as sample sourcing, emerging technologies, and effects processing, this presentation aims to prompt even more creativity and ingenuity in sound design for a variety of applications, from sound sourcing to composition techniques.

Saturday, October 19, 2 pm to 3 pm, CharterOak Acoustic Devices Presents: Intelligent Compression In the Analog Domain. Utilizing a unique control circuit, a totally new approach to AGC, and entirely discrete electronics, the CharterOak SCL-1 provides completely artifact-free compression. The device achieves this through waveform differentiation and integration. The SCL-1 employs a rectifier circuit that has a parabolic average charge curve. The intent of the circuit is to provide fast releases of rhythmic and staccato peaks and longer releases of legato notes within the user-established range of dynamic compression, which release to a continually changing average level or sustained music, which is determined by the parabolic charge curve of the storage capacitors. Michael Deming is the presenter.

Also as part of the Knowledge Center, on October 18, 19 and 20, at 11 am, 1 pm and 3 pm, Soundcraft will be holding Soundcraft MWP Si Training sessions on the Exhibition Floor, Booth T1. Join Soundcraft for hands-on training with the popular Si Expression and Si Performer series of digital audio consoles. Learn how to operate these consoles from factory expert and product specialist Tom Der, in a 90-minute training session right on the show floor. As well as surface operation, system configuration and facility integration will be discussed and demonstrated in detail; learn how to multitrack record via the latest in network technology such as Dante, MADI, and USB Firewire and how you can finally solve the master-slave issue between two consoles.

Steve Green, AES Business Development Manager, stated, “I believe The Knowledge Center is going to be a significant component of not only the 135th Convention, but also our future regional events and conventions. The Knowledge Center provides attendees current and practical information they can take home with them and incorporate in their daily work. It¹s great to have venue that allows companies and industry leaders to discuss the present and future of audio engineering technology with a commercial perspective not normally presented at the AES in such a relaxed environment.”

For further information on the 135th AES International Convention, please visit http://www.aes.org/events/135/.

135th Audio Engineering Society Convention Includes Presentation of “Best Paper Award” Distinctions

— Honors presented for Best Peer-Reviewed Papers and Best Student Papers —

New York, NY, October 15, 2013 — The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) features the presentation of the annual AES “Best Peer-Reviewed Paper Award” and “Best Student Paper Award” distinctions, honoring outstanding achievement in academic papers presented at the convention. The awards are being presented by Brett Leonard and Tae Hong Park, 135th AES Convention Papers Co-chairs.

This year’s “Best Peer-Reviewed Paper Award” distinctions were presented to:

Esben Skovenborg and Thomas Lund (both of TC Electronic, Risskov, Denmark), for their paper “Level-Normalization of Feature Films Using Loudness vs Speech.”
Yoshito Sonoda and Toshiyuki Nakamiya (both of Tokai University, Kumamota, Japan), for their paper “Proposal of Optical Wave Microphone and Physical Mechanism of Sound Detection.”

This year’s “Best Student Paper Award” distinctions were presented to:

David Romblom, with co-authors Richard King and Catherine Guastavino (all of McGill University – Montreal, Quebec, Canada, Centre for Interdisciplinary Research in Music Media and Technology [CIRMMT]), for their paper “A Perceptual Evaluation of Room Effect Methods for Multichannel Spatial Audio.”
Teemu Koski, with co-authors Ville Sivonen and Ville Pulkki (all of Technical University of Denmark), for their paper “Measuring Speech Intelligibility in Noisy Environments Reproduced with Parametric Spatial Audio”

Abstract for “Level-Normalization of Feature Films Using Loudness vs Speech” (Convention Paper 8983):
We present an empirical study of the differences between level-normalization of feature films using the two dominant methods: loudness normalization and speech (“dialog”) normalization. The sound of 35 recent “blockbuster” DVDs were analyzed using both methods. The difference in normalization level was up to 14 dB, on average 5.5 dB. For all films the loudness method provided the lowest normalization level and hence the greatest headroom. Comparison of automatic speech measurement to manual measurement of dialog anchors shows a typical difference of 4.5 dB, with the automatic measurement producing the highest level. Employing the speech-classifier to process rather than measure the films, a listening test suggested that the automatic measure is positively biased because it sometimes fails to distinguish between “normal speech” and speech combined with “action” sounds. Finally, the DialNorm values encoded in the AC-3 streams on DVDs were compared to both the automatically and the manually measured speech levels and found to match neither one well.

Abstract for “Proposal of Optical Wave Microphone and Physical Mechanism of Sound Detection” (Convention Paper 8924):
An optical wave microphone with no diaphragm, which uses wave optics and a laser beam to detect sounds, can measure sounds without disturbing the sound field. The theoretical equation for this measurement can be derived from the optical diffraction integration equation coupled to the optical phase modulation theory, but the physical interpretation or meaning of this phenomenon is not clear from the mathematical calculation process alone. In this paper the physical meaning in relation to wave-optical processes is considered. Furthermore, the spatial sampling theorem is applied to the interaction between a laser beam with a small radius and a sound wave with a long wavelength, showing that the wavenumber resolution is lost in this case, and the spatial position of the maximum intensity peak of the optical diffraction pattern generated by a sound wave is independent of the sound frequency. This property can be used to detect complex tones composed of different frequencies with a single photo-detector. Finally, the method is compared with the conventional Raman-Nath diffraction phenomena relating to ultrasonic waves.

Abstract for “A Perceptual Evaluation of Recording, Rendering, and Reproduction Techniques for Multichannel Spatial Audio” (Convention Paper 9004):
The objective of this project is to perceptually evaluate the relative merits of two different spatial audio recording and rendering techniques within the context of two different multichannel reproduction systems. The two recordings and rendering techniques are “natural,” using main microphone arrays, and “virtual,” using spot microphones, panning, and simulated acoustic delay. The two reproduction systems are the 3/2 system (5.1 surround) and a 12/2 system, where the frontal L/C/R triplet is replaced by a 12-loudspeaker linear array. The perceptual attributes of multichannel spatial audio have been established by previous authors. In this study magnitude ratings of selected spatial audio attributes are presented for the above treatments and results are discussed.

Abstract for Measuring Speech Intelligibility in Noisy Environments Reproduced with Parametric Spatial Audio (Convention Paper 8952):
This work introduces a method for speech intelligibility testing in reproduced sound scenes. The proposed method uses background sound scenes augmented by target speech sources and reproduced over a multichannel loudspeaker setup with time-frequency domain parametric spatial audio techniques. Subjective listening tests were performed to validate the proposed method: speech recognition thresholds (SRT) in noise were measured in a reference sound scene and in a room where the reference was reproduced by a loudspeaker setup. The listening tests showed that for normally-hearing test subjects the method provides nearly indifferent speech intelligibility compared to the real-life reference when using a nine-loudspeaker reproduction setup in anechoic conditions (<0.3 dB error in SRT). Due to the flexible technical requirements, the method is potentially applicable to clinical environments.

Audio Engineering Society 2013 Election Results Announced

New York, NY, October 15, 2013 — In its 2013 elections, the membership of the Audio Engineering Society has elected or re-elected the following individuals to two-year terms:

Vice President Central Europe: Nadja Wallaszkovits
Vice President Central US and Canada: Michael Fleming
Vice President International: Toru Kamekawa
Vice President Latin America: Valeria Palomino
Governors: Jason Corey, James David Johnston, Josh Reiss

Post-election, a vacancy unexpectedly occurred in the incoming President Elect position. Candidate Andres Mayo will now fill that position following his appointment by the AES Board Of Governors (BOG). The newly elected board members and officers will participate as observers in BOG activities during the 135th AES Convention prior to beginning their terms on October 27, 2013.

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