Archive by Howard Sherman

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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AES Announces Sponsors For 134th Convention In Rome

New Sponsorship Program Bringing Businesses Into The Convention in New Ways

Berklee College of Music & RCF Take Gold Sponsorships

ROME: “The AES has always been the place for the audio industry to promote innovation, education, and best practices,” states Executive Director Bob Moses. “In the past, the exhibition provided a platform for companies to showcase the latest and most advanced technologies for recording, live sound, broadcast and related audio fields. But during the past decade, e-commerce, social networking, mobile platforms, economic struggles, and the increasingly rapid pace in which we work, have coalesced into a total game changer. We’re exploring a number of new ways AES can serve businesses at the convention and beyond. These initiatives are part of our new convention sponsorship program.”

Moses underscores the growing need for companies to cut through the ubiquitous online chatter to reach key customers and decision makers. “Many companies want to deliver the message that their brands stand for quality and innovation. And they realize that our industry is driven by advancing technology — innovation fuels growth. AES is the ideal place to promote a healthy audio ecosystem. Sponsored on-site training sessions and focused demos are two examples of this AES/business partnership.” Our evolving role is to nurture a vigorous community for audio professionals who demand high quality audio equipment and keep the bar high for the audio profession across the board.

“A look at the list of sponsors for the 134th Convention in Rome, will reveal astute companies partnering with AES to deliver important audio training, support standards activities, promote their brands, and supporting us because they love what AES does” Moses said.

The sponsors of the 134th Convention in Rome are:

Audio Precision, Audiomatica Srl, bd Sound, B&C Speakers, Berklee College Of Music (Gold), CharterOak, Crane Song Ltd., EKO Music Group spa, Fairlight Europe, Klippel GmbH, LAMBDA srl, Link, Microtech Gefell GmbH, Pro Audio Consulting srl, RCF (Gold), Thrax Audio Ltd., Trinnov Audio and ZP Engineering srl

“Italian company, RCF, and the Berklee College of Music came in especially strong as our Gold Sponsors, and we are delighted to welcome them as our Convention partners,” said Convention Chairman Umberto Zanghieri. “RCF has been a leader in the development of world-class speakers, studio monitors and live sound technology for concerts, tours and theatrical performances for more than 60 years. Over the past 50 years, Berklee College of Music has evolved to a position as the world’s premier learning lab for the music of today and tomorrow. These two industry leaders top a list of eighteen outstanding sponsors committed to making the 134th AES Convention – May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre an unforgettable event.”

In acknowledging their Gold Sponsorship, RCF Head of Marketing, Gioia Molinari remarked, “The AES is essential for engaging with our peers, developing new associations, revitalizing long-standing friendships, and participating in extraordinary Live Sound events, Workshops, Tutorials, and high level social networking activities. We are pleased to lend our support to this irreplaceable organization.”

Berklee College of Music’s Valencia Campus Director for Technology Innovation Stephen Webber adds, “In supporting our mandate for providing students with the highest standards in music education, we find AES Conventions invaluable for developing high level mentoring opportunities, for acquiring insights into technology, standards and best practices, and for providing a unique environment for students to engage with a diverse range of industry professionals.”

“We salute our sponsors and we will make every effort to ‘over-deliver’ in our efforts to serve them at the Convention,” Moses concluded. “We hope other companies jump on-board the sponsorship bandwagon at future events so we can collaborate on keeping our industry smart and strong.”

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

Photos: RCF and Berklee College of Music Logos

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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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Mastering Engineer Nathan James Opens ‘The Vault’ In Phoenix

New WSDG Studio Geared For National Work

PHOENIX, AZ: A successful decade behind the console of his Manhattan-based Vault Mastering Studio, convinced engineer, Nathan James that he could shift his growing family back to their hometown of Phoenix and maintain a thriving business. Having developed a strong client base ranging from rockers like The Fray to jazz vocalist, Gretchen Parlato and comic Louis C.K., James was confident his skills would continue to attract interesting national projects. After establishing temporary quarters with a local mastering house, James’ next order of business was to retain the Walters-Storyk Design Group to create his new studio.

“My clients were very happy with the quality of the various rooms I worked out of,”James says.”But, for several years early in my career I assisted Scott Hull at the WSDG-designed, Classic Sound in NY. I always dreamed of having my own John Storyk Room. Our move to Phoenix was the perfect opportunity to make that happen. My conversations with John convinced me it was doable, both financially and physically. We started the ball rolling as soon as we were settled in.”

WSDG Project Manager Matthew Ballos, flew to Phoenix to access the site, take measurements and perform acoustic tests. “Nathan had purchased a handsome three – level house,” Ballos says. “The lower floor presented a perfect location for a 300 square foot studio. We had an 8-foot ceiling height, and a large window capable of providing natural light, and a sense of connectivity to the outside world. Windows are rare in studios, given the option, we take advantage of them.”

Ballos and WSDG principal/architect/acoustician John Storyk, collaborated on a studio designed to maximize the existing space and provide ceiling and wall isolation to eliminate sound leakage. “While it wasn’t necessary to ‘float’ the room, we incorporated a 2mm thick, rubberized mat beneath the hardwood floor to reduce sound transmission. “During design we envisioned a front wall treatment comprised of three overlapping curved, stretch fabric – wrapped absorptive panels,” Ballos reports. “We developed a corresponding ceiling cloud and rear wall panel which complimented the aesthetics and completed the room tuning requirements.”

WSDG also devised a 6-foot wide, absorptive acoustic window treatment built with Clearsorber Deamp perforated transparent panels. The treatment is hinged to open the window and provide James and his clients with friendly breezes, when work issues permit. The studio also incorporates a custom-designed wall sleeve, which houses the sliding glass acoustic studio door when it’s not in use.

James was fortunate to find a local contractor with extensive recording studio credits to handle the build. “WG McKenzie has built studios in NYC and Phoenix,” Matthew Ballos reports. He was extremely sensitive to the technical concerns of building acoustically pristine environments. We spoke frequently throughout the construction process, and we were on the same page on virtually every issue.”

“The new Vault Mastering Studio meets every one of my specific requirements, and when you walk in, it’s got that WSDG wow factor,” Nathan James says. “I migrated my entire mastering setup from New York, from the Custom DM console to the Duntech Sovereign/Cello amp monitoring combination that I’ve relied on for well over a decade. I brought all my trusted processing tools as well. Everything I need to get the most out of every recording is available at my fingertips. This is the studio I’ve always dreamed about. My original NYC Vault was aptly named because it radiated a sense of total sonic security. The new studio sounds and functions in a totally natural way. Sunlight enhances the creative vibe of the room during the day, and in the evening; it takes on an entirely different atmosphere. When I say I’m totally at home in my new Vault, I mean that both literally and figuratively,” James concludes.

Photos

1 WSDG designed The Vault Mastering Studio in Phoenix, AZ for engineer Nathan James (pictured)
2. The Vault Mastering Studio In Phoenix

Photos by John Brinkman.

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

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134th AES Convention Preliminary Events Calendar Link Is Live

Roam Online For Comprehensive Events Details On May 4-7 Convention In Rome

ROME: The Preliminary Events Calendar for the 134th AES Convention, is live on the AES website: http://www.aes.org/events/134/calendar/calendar.cfm. Packed with descriptive abstracts of Papers, Workshops, Tutorials and Special Events, the Preliminary Events Calendar offers a comprehensive overview of the first AES Convention to be held in the Eternal City.

134th AES Convention Chairman Umberto Zanghieri emphasizes, “While the Calendar covers virtually every presentation and event we have developed for the entire four day Convention, attendees should continue to refer to it on a regular basis as times and locations are still subject to change.”

The 134th AES Convention will be held May 4 -7, 2013 at Rome’s Fontana di Trevi Conference Centre. The event represents a unique opportunity for audio industry professionals to exchange ideas and information and to network with peers from around the globe in one of the world’s most historic cities.

* Deadline for Advance Registration is April 19, 2013 click on https://secure.aes.org/events/134/visitors.cfmt to register
* Non-members who wish to join the AES may visit: http://www.aes.org/join/
* To attend the AES the technical program visit: https://secure.aes.org/events/134/visitors.cfm

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

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134th AES Convention Overview

Sponsors – Tracks – Workshops – Papers

ROME: Sponsors, Presenters and attendees are preparing for the first Audio Engineering Convention to be held in the Eternal City. Scheduled for May 4 -7 at Rome’s Fontana di Trevi Conference Centre, the 134th AES Convention will maximize the scenic and social advantages of one of the world’s most beloved cities. “We have coordinated a full program of distinguished speakers, timely tracks, and stimulating special events designed to provide information, inspiration in an incomparable setting,” states Convention Chairman Umberto Zanghieri. “Established audio pros and students preparing for next-generation jobs, will benefit immeasurably from this convention experience.

“In addition to an extraordinary technical and educational program, the Convention will feature special displays by over a dozen prominent Sponsors,” Zanghieri emphasizes. “We are pleased to welcome, Audio Precision, Audiomatica Srl, B&C Speakers, bdSound, CharterOak, Crane Song Ltd., EKO Music Group spa, Fairlight Europe, Klippel GmbH, LAMBDA srl, Microtech Gefell GmbH, RCF spa, Trinnov Audio and ZP Engineering srl, and we thank them for their support.”

Over 140 Papers Sessions, Workshops, Tutorials, Engineering Briefs, Student and Career Development events have been developed for the Convention. Preliminary lists of presentation titles are posted at http://www.aes.org/events/134/ click on the “Visitors” button for details. The Convention will also host Standards Committee and Technical Council Meetings. A variety of social events have been coordinated to support enhanced one-to-one connectivity throughout the four-day event.

The 134th AES Convention technical program is highlighted by Five Convention Tracks developed to provide timely, comprehensive perspectives on Live Sound, Loudness Issues, Recording Techniques, Spatial Sound and, Sound For Pictures and TV.

Papers Co-Chairs Veronique Larcher and Angelo Farina and their review committee evaluated over a hundred submissions in search of the most compelling presentations. Subjects encompass such issues as: Improving Listening Ability Using E-Learning Methods and Evaluation of Acoustic Features for Music Emotion Recognition. Click on Papers for comprehensive details.

Workshop and Tutorials Programs, will provide attendees with invaluable information on topics ranging from 3-D Audio Automotive Applications; Multichannel Immersive Audio Formats for 3-D Cinema and Home Theater; and, Creative Distortion? You Are in the Over-Driver’s Seat. Click on Workshops and Tutorials for preliminary program details.

A formal preliminary program will be posted at www.aes.org soon.

“Every AES Convention offers a unique opportunity for acquiring real-world insights from recognized leaders in professional audio,” Zanghieri remarked. “The benefits of interacting with product developers, researchers, educators, students and peers are pillars of AES events. The fact that Rome is our host city makes this Convention even more compelling,” he concludes.

For details on Convention Tracks visit: http://www.aes.org/events/134/program/

The deadline for Advance Registration is April 19, 2013 and you can register here: http://www.aes.org/events/134/registration/

Many unique and wonderful hotels are situated near the Trevi Conference Center as are unforgettable Roman ruins. Accommodations are available at special AES rates in a few selected hotels. Prices listed are good until April 5th. For information on reservations click here: http://www.aes.org/events/134/visitors/hotels/

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Photo: The 134th AES Convention will be held in Rome, Italy – May 4-7, 2013

http://i49.tinypic.com/2112qop.jpg

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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Stephen Webber To Keynote AES 134th Convention In Rome

Internationally Recognized Professor of Music Production/Engineering & Star DJ

ROME: Stephen Webber, internationally recognized author, professor of music production & engineering, and star hip-hop DJ, will present the Keynote address at the 134th AES Convention. Scheduled for May 4-7 at the Fontana di Trevi Center in Rome, the Convention promises a rich program of educational Workshops and tutorials, research papers, standards and technical committee deliberations, and an incomparable environment for networking with the world’s audio elite. In making the announcement AES Executive Director Bob Moses remarked, “Stephen Webber personifies today’s AES membership. He combines a deep commitment to education with a high profile career as a creative DJ. An accomplished author and lecturer, Webber’s Keynote will provide a insightful bridge between the future and our legacy.”

Author of such successful books as Turntable Technique: The Art of the DJ, Stephen Webber is an international clinician who presents workshops, master classes and performance seminars on Production, Mixing Techniques, and Songwriting. An Emmy-winning composer who’s works include the Stylus Symphony, Webber was recently appointed Director of Music Technology Innovation at Berklee’s new campus in Valencia Spain. He addressed the Berklee Graduating Class of 2012, and has performed and lectured extensively in the US, China, Australia, Central America, and Europe. Webber is also an accomplished studio designer whose clients include actors Jack Black and Ben Stiller, and a producer/engineer who’s worked with NAS, Mark O’Connor, and DJ Premier.

Entitled “Inventing the Album of 2025,” Webber’s AES Keynote will seek to consider what is technologically, economically, and artistically possible, to decipher what the record album should look, sound, and feel like come 2025.

“We have high expectations for the 134th AES Convention,” Bob Moses concludes. “Attendees will find many opportunities to listen, learn and… connect with each other.”

Photo: AES 134th Convention Keynote Speaker, Stephen Webber

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

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AES E-Library Offers 14,000+ Fully Searchable PDF Files

Institutional And Individual Subscription Programs Now Available

NEW YORK: Audio Engineering Society Executive Director Bob Moses has announced new subscription formats to the AES E-Library. With over 14,000 fully searchable PDF files, the collection represents one of the world’s most comprehensive sources of definitive professional audio information. Documenting the progression of audio research and development from 1953 to the present day, the E-Library includes every paper published at each of the 133 AES Conventions and 49 international conferences, plus all papers published in the AES Journal. Engineering Briefs (eBriefs) recently introduced at conventions may also be accessed in the E-Library.

“The depth, range and authoritative nature of the professional audio subject matter amassed by the AES E-Library is unparalleled,” Moses says. “It provides a rich history of the evolution of audio technology, and carries all of the ideas, dialogue, and best practices forward from one generation to the next. This is really the crown jewel of the AES. It encompasses topics ranging from equipment design, to surround sound development, acoustic measurement, and hearing loss and protection.”

Additionally, the AES now offers an Open Access (OA) publishing option to its authors. OA papers in the E-Library are freely downloadable by anyone, including non-AES members and non-E-Library subscribers. The first OA offering is by Alex Case, “Recording Electric Guitar-The Science and the Myth.”

AES E-Library Subscriptions are available in two formats:

* Individual Subscriptions are $145 per year for AES members and $255 per year for non-members. This subscription provides downloads of any document in the E-Library at no additional cost.

* Institutional E-Library Subscriptions to universities, companies, and libraries are $1800 per year. This subscription provides all institution members with free downloads of any document in the E-Library.

* Individuals may download specific papers without an E-Library subscription, at a cost of $5 per paper for AES members and $20 per paper for non-members.

“AES Journal and Convention Program contributors are among the industry’s finest practitioners and scientific minds. Educators, students, researchers, product designers, manufacturers and historians may now track virtually every meaningful technological development introduced by our industry over the past 60+ years. They will discover extensive research and detailed findings on many fascinating subjects,” Moses concludes.

Photo: AES E-Library logo

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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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Bob Skye Joins WSDG As West Coast Rep/Project Engineer

New Role For Electro/Acoustics Innovator / Recording Engineer

SAN FRANCISCO: Bob Skye, a leader in electro/acoustic design, recording studio construction and, a Grammy-winning engineer with Gold and Platinum credits, has joined the Walters-Storyk Design Group. As WSDG’s west coast rep and project engineer, Skye will shoulder a host of responsibilities ranging from new client development and overall business management to hands-on project design and construction supervision.

“Our business plan is focused on providing exemplary client services as we expand our operation in the U.S. South America and abroad,” says WSDG Director of New Business Development, Sergio Molho. “The secret ingredient is talent, and Bob Skye is one of the most accomplished designer/builders in our field. We are extremely optimistic about our growing West Coast office; Adding one of California’s premiere acoustic gurus to our team emphasizes the level of our commitment to this market. And, Bob’s presence will enable our long-term SF associate Jack Leahy to focus on other WSDG assignments.”

Robert “Bob” Skye founded Skyelabs Inc. in 1975 as a mobile recording/acoustical/audio system design firm. From 1986 to 1993 he owned and operated the legendary Plant Recording Studios. His electro/acoustic design skills have contributed to the success of numerous nightclub, live theater, cinema, recording studio, large venue, corporate and live broadcast clients. His CV is highlighted by work for ABC TV, NBC TV NFL Films, the San Francisco Opera, Russian National Orchestra, Hong Kong Stadium, The Lear Theater (Reno, NV) Talking House Recording (SF) and numerous clubs including SF’s DNA Lounge, Whispers, Club Mercury and Blondie’s.

“Having worked on numerous WSDG projects, I have an abiding respect for John Storyk, Beth Walters and the entire WSDG team,” Bob Skye remarked. “We share a philosophy based on a commitment to excellence. I look forward to this new chapter in my life with genuine enthusiasm.”

“Bob Skye is one of our industry’s most multi-faceted, go-to guys,” WSDG co-principal John Storyk remarked. “We have collaborated with him, bid jobs against him, and over the past 35 years we’ve grown to respect the impressive range of his expertise. He not only does it all, he does it all well. We are delighted to welcome him aboard.”

Photo: Bob Skye has joined WSDG as west coast rep/project supervisor.

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

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Sonnox Releases AAX Version Of Oxford Dynamics Plug-In

OXFORD, UK: The wait is over! Sonnox has announced the release of the highly anticipated AAX version of it’s acclaimed Oxford Dynamics Plug-in. Based on algorithms from the Dynamics section of the OXF-R3 digital mixing console, the AAX DSP and Native versions boast six individual sections: Compressor, Expander, Limiter, Gate, Side-chain EQ, and Warmth function. Both AAX DSP and AAX Native versions can be used as a surround buss compressor/limiter, previously only possible in the TDM version. The Dynamics also benefits from new meters.

Sonnox Sales & Marketing Manager, Nathan Eames comments, “We’ve had a great number of requests for the Dynamics plug to be next in our AAX development cycle. Post customers have been particularly anxious for this version, as many use it with Avid consoles hand in hand with the Oxford EQ. This new release completes their main ‘go to’ plug-in toolset of EQ and Dynamics for Avid’s AAX format.”

To celebrate the release of the Oxford Dynamics for AAX, Sonnox is offering a 40% discount on the plug-in until March 31st 2013.

Photo: Sonnox has released the AAX version of the acclaimed Oxford
Dynamics Plug-in

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

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