Archive of the The Wire Category

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

Latest Firmware Update Offers Enhanced Functionality

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

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

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

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

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

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

RTW Delivers 145 TM3 TouchMonitor Units to WDR

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

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

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

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

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

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

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

RTW’s ranges of products currently include the SurroundControl series for monitoring, controlling and routing stereo, multichannel and surround audio and the TouchMonitor range, which truly marks a paradigm shift in visual audio monitoring and loudness metering. Combining maximum flexibility and modularity with an intuitive touch-enabled surface and multichannel signal analysis, the TM7 and TM9 units are the essence of many years of experience. The attractively priced TouchMonitor TM3 entry-level system opens new markets, targeting applications such as journalist cubicles, edit suites and small control rooms.
As part of its expansion into the U.S. market, in 2013 RTW established RTW International Corp. in Lancaster, Pennsylvania. The new office is the first U.S. location launched by RTW, showing the company’s dedication to supporting its customers and dealer networks in the U.S. The new U.S. office will house all customer service, repair and final product assembly activities for U.S.-based RTW customers.

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

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Hal Leonard Publishes The Invention of the American Guitar

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

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

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

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

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

About Martin Guitar

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

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

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

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

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

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

New York, NY, October 16, 2013 — The opening ceremonies of the 135th Audio Engineering Society Convention (Thursday, October 17, 1:00 pm to 2:00 pm, in Room 1E15/16 at the Javits Center in New York City) features the presentation of this year’s AES Awards, along with remarks from AES Executive Director Bob Moses, AES President Frank Wells, and AES 135th Convention Chair Jim Anderson, as well as a keynote address from noted audio researcher Josh McDermott. The award ceremony will be hosted by Jim Kaiser, AES Awards Committee Chair.

The awards include the following:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About Neumann:

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

About Sennheiser:

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

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

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

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

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

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

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

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

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

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

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

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

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