Archive by Howard Sherman

OXFORD LIMITER RELEASED FOR AAX + JUNE PROMO – 40% OFF SONNOX ENHANCE

OXFORD, UK: Sonnox has released the Oxford Limiter plug-in for Avid’s AAX format. Sonnox Sales & Marketing Manager, Nathan Eames reports, “The demand for AAX plug-ins has been growing exponentially, as the Pro Tools HDX user-base expands. Our design group continues to work diligently on developing 64-bit AAX versions for the forthcoming Pro Tools 11. The work is time consuming, but absolute accuracy is paramount, to bring these much loved classics to the HDX platform.”

To mark the release of the Oxford Limiter (AAX), Sonnox is offering its Enhance Collection throughout the month of June with a discount of 40%. The Sonnox Enhance Collection contains three popular Oxford plug-ins – Limiter, Inflator and Transient Modulator – whose combined punch can greatly enhance any mix. While all three plug-ins are available in AAX format, they are also compatible with other plug-in formats – TDM, RTAS, Audio Units and VST.

For more information on the Sonnox Enhance Collection and to watch a demo of the three plug-ins in action, visit: http://bit.ly/enhance40

Photo: Sonnox AAX Limiter Screen Shot

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For information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

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134th AES Convention Draws Int’l Pro Audio Community To Rome

High Level Dialogues On Loudness, Digital Cinema & Spatial Audio

ROME: “Our 134th convention exceeded expectations in every way,” reports AES executive director Bob Moses. “Our 4 day program of over 150 workshops, tutorials and round table discussions on digital cinema, loudness, spatial audio and other timely topics, packed our presentation rooms. In addition to a solid pro industry turnout, we attracted many enthusiastic students whose quest for information and mentors was palpable. Our sponsors were uniformly pleased with the new customers in attendance throughout the Convention. I feel confident that we are on a good path in Europe and look forward to expanding this new AES model in future years,” he adds.

The 134th AES Convention was held May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre. Under the guidance of Convention Chair, Umberto Zangheri, the Convention program presented attendees with the opportunity to discuss the issues that impact the vitality of the pro audio industry.

“This Convention provided a unique environment for deliberating hot issues, and incubating future innovation and growth in the pro audio industry,” Moses states. “Many events were educational in nature, bringing professionals up to speed on important topics. Many others crystallized critical technical milestones in rapidly evolving fields such as Digital Cinema. One of our missions is to take all this amazing mental power in our industry and turn it into new standards and best practices. The work in the Digital Cinema community is a prime example of this synergy. They’re not just talking about the future; they’re making it happen in our meeting rooms. It’s very important work!” he adds.

Brian McCarty, chair of the AES Technical Committee of Sound For Digital Cinema and Television reports, “the standing-room only attendance for virtually all our Sound for Pictures Track events was augmented by the fact that these meetings were extremely productive in terms of producing demonstrable findings to support our Standards Committee activities.”

Following through on his promise to serve businesses in new ways, Moses says the decision not to have an exhibition floor was deliberate. “I wanted to test a model based on sponsorship,” he said, “in contrast to a traditional exhibition. This event and venue was a good opportunity for such a test. If you look at what our sponsors did – training, product placement, and so on, you can see some very interesting and creative ways for AES to serve them.

“I’m very grateful to these companies for supporting us and coming out to play,” Moses adds. “I heard many success stories from them, and I’m looking forward to stepping our sponsor program up another level in 2014.”

Commenting on her reaction to the Convention, Gioia Molinari, Head of Marketing for Gold Sponsor, RCF remarked, “The emphasis on serious industry issues and meaningful technical dialogues distinguished this event from the new product introduction focus of many large scale conventions. The AES European gathering is sized and designed to establish critical new business relationships and, to help us assess where the industry is headed technically. We were extremely pleased with the quality of the attendees and the genuine enthusiasm expressed by our co-sponsors. This was one of the most productive and stimulating Conventions we have participated in.”

“AES Conventions are unsurpassed environments for student interaction,” said Stephen Webber, Gold Sponsor, Berklee College of Music’s Valencia Campus Director for Technology Innovation. “These are the kinds of events, which inspire dialogues that spark creative breakthroughs. The students we engaged with were bright, inquisitive and, grateful for the opportunity to meet with both their international peers and the industry professionals who are pioneering the changes which are moving our industry forward.”

“The AES Rome Convention technical program focus appealed to us as a manufacturer,” said CharterOak President Michael Deming. “The format successfully allowed us to present our products in a focused way in two technical training sessions ‘Intelligent Compression In the Analog Domain’ and ‘Wide Bandwidth Equalization in the Analog Domain.’ Our presentation room was filled with industry pioneers, working professionals and wide-eyed students, creating an environment for training and technical discussions, that doesn’t happen on a crowded exhibits floor,” Deming adds.

AES President, Frank Wells concludes, “In the marketplace of ideas, the 134th Convention proved that the AES remains professional audio’s prime source for the fundamental information, leading edge technology and technique, standards and practices-AES convention attendees have the information available to allow them lead the curve while others follow.”

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Photos
1. Keynote crowd at 134th AES Convention in Rome
2. Members of the 134th AES Convention team in Rome
3. 134th AES Convention co-sponsor, CharterOak, President, Michael Deming during a presentation in Rome.

The Audio Engineering Society was formed in 1948 by a group of concerned audio engineers. The AES counts over 14,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. For additional information visit http://www.aes.org

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AES 135th CONVENTION POSTS DEADLINE FOR PAPERS PROPOSALS

May 29 Deadline for Abstracts

NEW YORK: AES 135th Convention Committee Papers Co-Chairs, Brett Leonard and Tae Hong Park, have announced an extension of the call to the professional audio community for technical papers proposals. The new deadline is Wednesday, May 29, 2013.

“We have already received a number of strong abstracts and completed papers,” reports Brett Leonard. “We anticipate a particularly strong turnout for this year. And, we want to make sure that our review board has as many options as possible in order to maintain the quality and diversity of our presentations. By reaching out to a wider segment of the professional and educational sectors we hope to add a number of atypical but eminently worthwhile subjects.”

“We recognize the fact that meaningful papers can originate from beyond traditional academia,” states Co-Chair Tae Hong Park. “Our goal is to develop the most stimulating, comprehensive and authoritative Papers Program possible. Points of origin are far less critical than points of fact, theory and originality.”

In addition to sharing knowledge and opening constructive dialogues on issues which impact on the professional audio community, presenting authors will have their Papers included on the CD-ROM of the full Papers / Posters Program, and, student members will be eligible for the Student Paper Award.

Authors may submit proposals in three categories:

1. Complete-manuscript peer-reviewed convention papers: www.aes.org/135th_authors
2. Abstract-precis-reviewed convention papers: www.aes.org/135th_authors
3. Synopsis-reviewed engineering briefs: www.aes.org/135th_ebriefs

Category 1 and 2 proposals must be submitted electronically to the AES 135th proposal submission site at: www.aes.org/135th_authors by May 29, 2013

Category 3 – Engineering Brief authors must supply a short synopsis by Aug. 14, 2013 followed by an electronic manuscript. These manuscripts will be freely available in the AES E-Library to AES members.

The 135th Audio Engineering Society Convention will be held Oct. 17 – 20, 2013 at New York’s Jacob Javits Convention Center.

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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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WSDG Reveals Outreach To India

New Affiliation With Pivotal Bollywood Film/Audio Rep

NEW YORK: Sergio Molho, Walters-Storyk Design Group Director of New Business Development, reports that company co-principals Beth Walters and John Storyk returned from a recent visit to India with a pioneering relationship with leading Pro audio/film industry solution provider/recording engineer, Aditya Modi. Following a series of client meetings and two lectures on design and acoustics at Yash Raj Studios in Mumbai, Walters and Storyk finalized an agreement with Modi Digital for exclusive representation of WSDG throughout India.

“Aditya Modi is a 2nd generation audio/video/film industry professional,” Molho says. “Since 2007 he has managed Modi Digital, a successful technology sales/installation firm founded by his father, Vijay Modi – 40 years ago. In addition to his extensive business experience, Modi is an award-winning, creative audio engineer. Our agreement will see him working with us to introduce WSDG’s acoustic and architectural design capabilities to India’s thriving production community. We are extremely fortunate to be working with him,” Molho adds.

“We were deeply impressed with Modi’s artistic talents, his integrity and his social graces,” Beth Walters remarked. “He worked and studied in the U.S. for a number of years, his knowledge of and connectivity with India’s huge film and audio production community is unsurpassed. We have an abiding respect for Bollywood, and we are convinced that WSDG can be of great service this pivotal industry.”

After earning a Recording Arts Degree from Full Sail University in 2001, Aditya Modi moved to LA to work as a DJ. Returning to Mumbai after graduation, he became a successful recording engineer and businessman. In 2001 Academy Award-winning Bollywood composer A.R. Rahman (Slumdog Millionaire) enlisted Modi to manage his production/post production operations, and to serve as creative producer for his live and theatrical shows. Beyond his on-going relationship with Rahman, Modi established two personal recording, mastering & mixing facilities in Mumbai. In addition to writing for technical publications, he also hosts seminars for Music/Audio educational institutions.

“I have been aware of the Walters-Storyk Design Group from the earliest days of my career,” Modi remarked. “John Storyk’s work is highlighted by world-class credits that range from Electric Lady in 1968 to NY’s newest super studio Jungle City. I know WSDG’s international team will make a huge impact on Bollywood’s technical capabilities. And, I am honored to be representing such a distinguished firm.”

“We established an immediate rapport with Modi, and we relate to his entrepreneurial spirit,” John Storyk adds. “He is a true player in the Bollywood community. We are already beginning design work on our first project in India and,” he concludes, “We look forward to a long and warm working and personal relationship with Modi.”

Photo: Aditya Modi is representing the Walters-Storyk Design Group in India

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The 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, the KKL Luzern Concert Hall in Switzerland, 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, 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, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City and Mumbai.

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Dave McNair Plugs Sonnox Pro-Codec Into David Bowie’s Instant Classic “The Next Day” CD

OXFORD, UK: A mastering/mixing engineer with credits ranging from Iggy Pop and Rod Stewart to Los Lobos and Tina Turner, New Jersey-based Dave McNair most recently lent his technical and aesthetic expertise to David Bowie’s instant classic The Next Day. Warmly embraced by critics and fans alike, Bowie’s first album in ten years has accrued universally positive reviews, strong sales and, extensive YouTube viewing thanks to its avante garde look and sound.

McNair, who has worked with producer Tony Visconti, a long-time Bowie collaborator, on several previous projects, took particular advantage of his Sonnox Fraunhofer Pro-Codec on The Next Day. I’ve been using the Pro-Codec to preview encoded files in real time since it was introduced,” McNair says. “It’s become invaluable in previewing various codecs on the mastered higher resolution files for clients who will be making MP3′s or lower resolution files for digital distribution. I’ve found that the higher the bitrate, the less overs are created when making an MP3 or AAC.”

McNair uses the Pro-Codec via his Sequoia mastering rig. It enables him to hear (and visualize) exactly how an encoded file will sound. “A miniscule amount of red in the NMR (Noise-to-Mask Ratio) display in the FFT window (or, no red at all if I back the Bitstream level down) means there’s less or no audible distortion created in the encode stage,” he explains

The Pro-Codec was particularly useful on Bowie’s The Next Day album. “This recording was captured at 96kHz and also encoded for the Mastered for iTunes format.” McNair reveals. “The CD target level for Bowie was -0.6dB for the 96K session. After sample rate conversion to 44.1 kHz, it probably ended up closer to -0.1dB. Based on what I was seeing with the Pro-Codec and a later check using the Apple Mastered For iTunes software, the 96K files sent to iTunes were delivered at – 0.8dB. Overall, the Pro-Codec is a great tool. It really helps with my workflow. It was an honor and a great personal pleasure to be associated with this incredible project,” McNair concludes.

Photo: Mastering/mixing engineer Dave McNair recently worked on David Bowie’s The Next Day album.

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For detailed information on Sonnox Oxford Plug-ins please visit: www.sonnox.com

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Workshops & Tutorials Align For 134th AES Convention In Rome

ROME: “The Workshops and Tutorials developed for the 134th AES Convention were designed to provide attendees with a particularly diverse educational curriculum. In many cases these events serve as integral components of major Track Presentations. Although their subject matter is diverse, their unifying core is a shared level of authoritative excellence,” observes 134th AES Convention Chairman Umberto Zanghieri. The 134th AES Convention will be held, May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre. The international gathering of audio professionals will provide attendees with an unparallel opportunity to exchange ideas and information and to network with their peers, in one of the world’s most storied cities.

A Partial List of 134th AES Convention Workshops Includes:

• Applications of 3-D Audio in Automotive
• Multichannel Immersive Audio Formats for 3-D Cinema and Home Theater
• Design and Build of First Atmos-Equipped Dubbing Theater
• Capturing the Acoustics of Concert Halls with a Loudspeaker Orchestra
• Current Reference Listening Room Standards: Are They Meaningful?
• Sound Mixers Discuss Their Craft

Tutorial Presentations Include:

• Creative Distortion? You Are in the Over-Driver’s Seat
• Acoustic Enhancement Systems-Basics
• Microphones: The Physics, Metaphysics, and Philosophy
• Rub & Buzz and Other Irregular Loudspeaker Distortion
• 3-D Audio, Produce the New Dimension?
• Turntable Technique: The Art of the DJ

Click on http://www.aes.org/events/134/workshops/ and
http://www.aes.org/events/134/tutorials/ for complete program information.

For full Convention details visit the Preliminary Events Calendar at: http://www.aes.org/events/134/calendar/calendar.cfm

Photo: Fontana di Trevi Conference Centre, Rome

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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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Paper Sessions Set To Enlighten AES 134th Convention Attendees In Rome

ROME: “AES Convention Paper Sessions represent innovative thinking by some of the most creative minds in professional audio,” states 134th AES Convention Chairman Umberto Zanghieri. “Papers Co-Chairs Veronique Larcher and Angelo Farina and their review committee evaluated over a hundred submissions in search of the most compelling, timely, and meaningful presentations. They have produced an outstanding program, developed to provide attendees with invaluable information. Over 110 Papers will be presented. We are deeply appreciative of the time and energy they devoted to this assignment,” Zanghieri adds. The 134th AES Convention will be held May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre. The event represents an unique opportunity for industry professionals to exchange ideas and information with their peers, in a city that has been a seat of learning for centuries.”

AES 134th Convention Papers Sessions Include:

* Education and Semantic Audio
* Audio Signal Processing
* Room Acoustics
* Spatial Audio
* Measurements and Modeling
* Applications In Audio
* Recording And Production
* Perception And Education

“We were fortunate to have received a great number of remarkably diverse and extremely high quality submissions,” Veronique Larcher reports. “This made our selection both easier and more complicated. As we had a limited amount of time for the presentations, we were faced with making some difficult decisions. Angelo Farina and I are confident that 134th AES Convention Attendees will find many worthwhile options to explore.” Farina stresses the point that all paper presentations will be available in print and PDF/CD format at the convention and also in audio format following the event.

For details on the AES Papers Program visit: http://www.aes.org/events/134/papers/

For Convention details visit the Events Calendar at: http://www.aes.org/events/134/calendar/calendar.cfm

Photo: Rome’s Fontana di Trevi

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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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Rome 2013 — 134th AES Convention Amplifies Spatial Sound

ROME: “Reviewing the many authoritative Papers and Workshop submitted for the 134th AES Convention, the Committee recognized a prevalence of 3-D Sound-related proposals,” reveals AES Executive Director Bob Moses. “It became apparent that we had enough perceptive, well-researched events to establish a formal Spatial Sound Track,” “By assembling nearly two dozen-papers and four timely Workshops into a dedicated bloc, we can direct 3-D Sound-focused attendees to a comprehensive overview on this topical field.” The 134th AES Convention will be held May 4 -7 at Rome’s Fontana di Trevi Conference Centre.

Spatial Sound Track Paper Sessions Include:

• Perception
• Recording & Production
• Spatial Audio – Part 1: Binaural
• Spatial Audio – Part 2: 3-D Microphone and Loudspeaker Systems
• Spatial Audio – Part 3: Ambisonics, WFS

Workshops Include:

• Applications of 3-D Audio in Automotive
• Properties of Auro 3-D Room Signals
• Bernstein and Beethoven in 3-D
• 3-D Audio: Produce the New Dimension?

Visit: http://www.aes.org/events/134/spatialsound/ for a complete list of events.

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For Convention details visit the Preliminary Events Calendar at: http://www.aes.org/events/134/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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ImmersAV Jazz Concert – A Very Special 134th AES Convention Event In Rome

ROME: At 20:00 hrs on Monday evening, May 6, the 134th AES Convention will host a very Special Event. The ImmersAV Jazz Concert featuring The Greg Burk Trio will be performed at the Saint Louis College of Music As a unique aspect of the concert, Robert Schulein, President and owner of RBS Consultants, an international acoustical consulting firm will be making a combined Binaural and HD video recording for downloading from the AES web site following the convention.

The audio/video recordings will be formatted for both headphone and loudspeaker listening (via cross talk cancellation), for subsequent viewing by AES members. This will allow attendees an opportunity to attend the event live and to recreate the experience later by means of a surround audio with video recording process compatible with today’s consumer viewer/listening technology.

About Greg Burk:

Pianist/composer/educator Greg Burk has lived, studied, educated and performed around the world. Over the last decade, living and working in Detroit, Boston and now Rome, he has established himself not only as a vital sideman, but also as a leader with the rare ability to combine original compositions with memorable melodies and a desire to push the creative envelope as an improviser.

About the Saint Louis College of Music:

Since 1976, the Saint Louis College of Music has been one of the most popular musical education institutions with excellence on a European scale. The college teaches more than 1,800 students each year from all over the country. It has a professional teaching staff of over 120 teachers, nationally known, and directed by Maestro Stefano Mastruzzi.

The 134th AES Convention will be held May 4 -7 at Rome’s Fontana di Trevi Conference Centre. For details visit the Preliminary Events Calendar at: http://www.aes.org/events/134/calendar/calendar.cfm

Photo: The Greg Burk Trio will perform at Rome’s Saint Louis College of Music for the 134th AES Convention on May 6th.

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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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134th AES Convention Zeros In On Loudness

Loudness Track To Address Critical Issues From Every Conceivable Angle

ROME: The Loudness wars have waged on air and in ear for decades, leaving millions of frustrated listeners in their wake as collateral damage. The FCC, EBU, and ITU have responded with a family of standards aimed at measuring and controlling loudness, and designed to ensure an acceptable listening experience. 134th AES Convention Chairman Umberto Zanghieri reports that the Loudness Track, anchored in a full day of focused events on Sunday May 5th, represents, “A comprehensive and authoritative overview of the many complex issues related to this enduring problem.”

To emphasize the importance of the Loudness Issue, the 134th AES Convention has declared Sunday, May 5th Loudness Day. Assembled by Florian Camerer, Chair of the EBU Loudness Group, PLOUD, these Papers and Panels will explore the latest research and practices and, address recommendations for demystifying and ameliorating this exasperating scourge. The 134th AES Convention will be held May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre.

AES Rome: Loudness Track: Saturday, May 4

Loudness Measurement of Multitrack Audio Content Using Modifications of ITU-R BS.1770: Recipient of the Convention’s Best Peer-Reviewed Paper Award, this far-reaching primer on recent ITU and EBU loudness measurement recommendations, will be presented by Pedro Pestana who co-wrote with Josh Reiss and Alvaro Barbosa.

Loudness Papers presented on Saturday under the heading: Perception: include:

1.The Relation Between Preferred TV Program Loudness, Screen Size and Display Format 2. A Framework for Adaptive Real -Time Loudness Control

AES Rome: Loudness Day – Sunday May 5

A Hichhiker’s Guide to Audio Nirvana: Presenter Florian Camerer, ORF – Austrian TV – Vienna, Austria; EBU – European Broadcasting Union – Targeted to sound engineers, this session will bring participants up to speed regarding virtually all the key aspects of loudness control and metering.

All Loudness Recommendations Are Equal-But Some Are More Equal than Others: Presenter Andrew Mason, BBC Research and Development, London – This tutorial will offer an explanation of the different loudness standards used in Europe (R 128), the US (A/85), and such other countries as Australia and Japan.

Loudness for Commercials-How Esthetics Change(d)

Are Movies Too Loud? The Loudness Race Reaches the Cinema: Presenters: Florian Camerer, ORF – Austrian TV – Vienna, EBU – European Broadcasting Union; Eelco Grimm, Grimm Audio – Utrecht, Netherlands, Alessandro Travaglini, Fox International Channels Italy – Guidonia Montecelio (RM), Italy – Cinema audiences constantly complain that soundtracks are “too loud.” Just turning the level down results in lowered dialog levels, which leaves the movie quieter but unintelligible. EU loudness standards are starting to be applied to cinemas. There may be a need for standards to ensure that theaters receive soundtracks that meet EU laws. This workshop will investigate the issues and the work necessary to resolve them.

Make LUFS Not War: Chair, Thomas Lund, TC Electronic A/S Denmark; Panelists: Florian Camerer, ORF – Austrian TV, Vienna; EBU – European Broadcasting Union; George Massenburg, Schulich School of Music, McGill University, Montreal – Newly produced pop/rock music rarely sounds good on fine loudspeakers, commercials on TV are annoyingly loud, and a visit to the cinema may be a deafening experience. This is audio’s dark Middle Ages. However, 2013 could be the year where a renaissance again spreads from Italy. Transparent loudness normalization has arrived to radio, TV, and iPod; The panel will address the far-reaching implications this development will have on audio production.

Give Peaks a Chance: Presenter: Thomas Lund, TC Electronic A/S – Risskov, Denmark – Hearing is our most acute temporal sense, but the terms we have for describing dynamic changes in audio are not well defined. This session will explore micro and macro-dynamics in music and speech, their effects and, what it takes to actually register them as a listener. But, engineers be warned! Although audio samples will be played, this presentation will focus on anatomy, physiology, and psychology.

Loudness Work in Live Sports – Case Studies, Upmix And Downmix

Loudness In Radio – The Next Step

“We are extremely proud of this historic Loudness Track,” states AES Executive Director Bob Moses. “We hope it will produce meaningful dialogues on correcting this ongoing problem. We also recommend that attendees refer to the Preliminary Events Calendar -http://www.aes.org/events/134/calendar/calendar.cfm to confirm times and locations for all these events. Packed with descriptive abstracts of Papers, Workshops, Tutorials and Special Events, the Preliminary Events Calendar provides an invaluable overview of the first AES Convention to be held in the Eternal City.

Photo: Florian Camerer, Chair of the EBU Loudness Group, PLOUD

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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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