Agnieszka Roginskaby Mel Lambert.
New York (October 9, 2009)–With the economy at long last showing positive signs of life, it’s time indeed to roll up the sleeves and get productive. I can think of no better environment to learn more about leading-edge audio developments than our AES Conventions.
As Convention Chair Agnieszka Roginska stresses, “The AES Convention is the largest and most important gathering of audio engineers, producers, researchers, musicians and educators. People come to the Convention to share their experiences, learn from one another, discover more about cutting-edge research and products and to make connections.”
My personal choice of today’s workshops is the succinctly titled, Following The Score: Film Music from Composition to Recording to Postproduction, chaired by Ron Sadoff from NYU’s Film Scoring Program, with panelists Michael Barry from Sound One, Lawrence Machester from Late Night with Jimmy Fallon, plus Ira Newborn and Tim Starnes from NYU Steinhardt. Participants will trace the progressive stages of composing, recording, mixing and remixing a film score during this highly collaborative process.
Keying on the changing focus of our audio production industry, a tutorial session entitled, The Growing Importance of Mastering in the Home Studio Era, chaired by Andres Mayo, will focus on common mistakes that can be found in homemade mixes. Let’s find out what can, and cannot, be fixed at the mastering stage. One of today’s Live Sound Seminars, Sound System Design and Installation Considerations for Churches and HOWs, chaired by Bill Thrasher from Thrasher Design Group, with panelists Jeff Davidson, David Hatmaker, Blair McNair and Michael Petterson, will focus on of this rapidly expanding market, covering budget to design and installation, through service to training to day-to-day operation. And of today’s various Special Events, I plan to look it on Bob Ludwig’s Platinum Mastering, where panelists Greg Calbi and Bernie Grundman will discuss their work on such landmark albums as Born in the USA, Thriller, Graceland and John Mayer’s Continuum.
During the Virtual Acoustics session chaired by David Griesinger, a paper authored by a group from Germany’s Fraunhofer Institute will consider how to determine the position of sound sources based on Directional Audio Coding (DirAC) even in reverberant environments. Typical uses would include the reproduction of spatial sound on the basis of a downmix audio signal and parametric side information, namely direction of arrival and diffuseness of the sounds. Later, Sylvain Favrot and Jörg M. Buchholz from Technical University of Denmark will profile a new loudspeaker-based room auralization system that combines acoustic modeling techniques with high-order Ambisonics to generate a range of virtual auditory environments. Fascinating stuff!
I’ll be back tomorrow with details of other not-to-be-missed Live Sound Events, Master Class Programs, Education Panels, Workshops, Technical Tours, Platinum Producers sessions and much, much more.
Industry veteran Mel Lambert heads up Media&Marketing, a consulting service for pro-audio firms and facilities. www.MediaandMarketing.com