Archive by PR Guy

Lowell Manufacturing Adds Deep Profiles to Wall-Mount Rack Series

— New 28- and 32-inch-deep racks for LWR Series —

PACIFIC, MO, October 28, 2013 — Lowell Manufacturing Company, a U.S. manufacturer of professional A/V products for more than 65 years, has expanded its LWR Series of wall-mount racks to include two deep profiles—28” and 32”—for applications requiring greater depth for electronics and accompanying cables and wiring. These deeper-profile wall racks feature the time-saving sectional design that allows the backbox to be sent to the job site while the cabinet (mounting section) is filled at the shop.

LWR Series Features:

Heavy duty, swing-open, sectional rack (load capacity to 300 lbs.)
Backbox: 10” square opening in rear, removable knockout panels, lacing points, and provisions to attach board-mounted accessories. Two side locks keyed differently than (optional) front door.
Cabinet (mounting section): 1-pr. adjustable mounting rails, integral rails in top and bottom, vented sides, and knockouts.
Four depths: 19”, 23”, 28”, 32” (varied heights)
Made in USA with 100% certified US steel

For more information, please visit www.lowellmfg.com or e-mail Lowell at sales@lowellmfg.com.

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135th Audio Engineering Society Convention Hits A Five-Year High

— Convention takes a bite out of the Big Apple and reminds the industry that “If It’s About Audio, It’s At AES” —

New York, NY, October 24, 2013 — The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) was the place to be if you have anything to do with the audio industry. The exhibit floor, panels and technical sessions were packed all four days, and as AES celebrated its 65th Anniversary, a five-year-high number of 18,453 registrants was tallied.

At show close, AES reported a 16% increase in registration since the last time the convention was in New York two years ago (131st AES) and a staggering 71% increase over last year’s San Francisco event (133rd AES), which unfortunately was plagued by smaller attendance due to Hurricane Sandy.

Convention Committee Chair Jim Anderson and his team created the most ambitious and comprehensive schedule of workshops, panels and technical programs in AES convention history; AES135 will be remembered by those in attendance as an exciting and enlightening experience, and one of the most heavily attended conventions in years. From the opening keynote address on Thursday by Josh McDermott from MIT; and the Heyser Lecture by legendary producer, technologist and multi-GRAMMY® Award winner George Massenburg; to Friday’s lunchtime keynote by multi-GRAMMY Award winner Jimmy Jam; the Project Studio Expo and Knowledge Center; the “Sound For Picture” Deadliest Catch workshop; the GRAMMY SoundTables event honoring the late Phil Ramone; presentations by engineer and Jay-Z collaborator Young Guru; and more, AES135 hit it out of the park for attendees and exhibitors alike.

“I can’t express how thrilled I am with our Convention this year,” stated Bob Moses, Executive Director of the AES. “Our organizing committee really outdid themselves, with over 250 presentations from an astounding 682 leading researchers and practitioners in the field, many of them standing-room only. The convention floor was absolutely packed, and the only complaint I heard was that we ran out of convention programs on the second day because so many people showed up. We took some risks with this show in an attempt to bring in lots of new blood and to maintain our position on the proverbial cutting edge, and the fact that it was such a fantastic success gives us confidence to ratchet it up a few more notches in Los Angeles next year. Actually, why wait for October 2014? – we’ll be back in Berlin in April, and much of what made this show so great will be leveraged to breathe new life into our European convention.”

No matter what sector of the industry you are involved in — recording & production, broadcast & streaming, game audio, live sound, networked audio, sound for picture, post production or system integration — AES135 had it all. The convention received support from over 20 industry sponsors and partners including: Audio Precision, Cerwin-Vega, CharterOak, Focusrite/Novation, Gibson, Hal Leonard, Harman/Soundcraft, iZotope, KRK, NewBay Media, Onkyo, SAE Institute, Sennheiser, Sound On Sound, Sound and Picture, Stanton, Tascam, and THAT Corporation. Additionally several organizations lent their support, including APRS, ASCAP, DTV Audio Group, International Music Festival Conference, Manhattan Producer’s Alliance, The Recording Academy® Producers & Engineers Wing® and SPARS, as well as leading audio retailers GC Pro and Sweetwater.

The convention garnered praise from exhibitors and attendees alike. Piers Plaskitt, CEO, Solid State Logic, Inc., stated, “We went into the 2013 AES with high expectations, a new console for the live market, a cool summing box for our music professionals and a MADI/Dante bridge for our broadcast customers. We staffed up accordingly, and I’m very pleased to say that we had an extraordinarily busy show that exceeded our projections on every level. We are looking forward to 2014 and the convention’s return to Los Angeles.”

“This AES in NY was the best AES convention in many years,” stated Eric Mayer, President, DPA Inc. “This year the show floor traffic seemed up, our booth attendees were more ‘qualified’ and spirits seemed high. I’m not sure what changes were made, but whatever they were, they were needed and they worked.”

Katy Templeman-Holmes, Sr. Marketing Manager USA, Mixer Group, HARMAN, echoed Mayer’s words: “We had a great show, specifically with the hands-on workshops we hosted. Attendance was stronger than ever and it was a valuable mix of student, new and veteran engineers all looking to learn and experience the available technologies and products. A good show all around.”

“AES NY is always special, as no other show draws such a diverse crowd of key decision leaders in music, post, broadcast and live sound,” stated Phil Wagner, President of Focusrite Novation Inc. “This year’s AES show had our booth and sound demo room packed with potential customers from start to finish. We were proud to sponsor both the Project Studio Expo and Networked Audio Track. We look forward to a strong presence at AES Los Angeles next year.”

For additional information on the Audio Engineering Society and its conventions, conferences and technological outreach, visit http://www.aes.org.

Photo Caption 1: The 135th Audio Engineering Society Convention (Thursday, October 17, through Sunday, October 20, 2013, at the Javits Center in New York City) saw five-year-high registration numbers. Photos courtesy of Audio Engineering Society. © 2013

Photo Caption 2: Attendees flock to the 135th Audio Engineering Society Convention on the opening day of exhibits, Friday, October 18, 2013. Photos courtesy of Audio Engineering Society. © 2013

Photo Caption 3: The aisles on the exhibition floor at the 135th Audio Engineering Society Convention were filled with wall-to-wall attendees. Photos courtesy of Audio Engineering Society. © 2013

For additional photos from the 135th AES Convention, please visit http://clynemedia.com/AES/AES135/photos/.

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Genelec 2013 AES Convention Press Kit

Please click the graphic below to view the Genelec 2013 AES Press Kit

or visit http://clynemedia.com/genelec/AES_2013/index.html

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Audio-Technica 2013 AES Convention Press Kit

Please click the graphic below to view the Audio-Technica 2013 AES Press Kit

or visit http://clynemedia.com/audiotechnica/AES_2013/index.html

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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/.

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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.

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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/.

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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.

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

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

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

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

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

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

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

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

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