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IBC provides you with an unparalleled platform to meet, address and learn from 57,000+ of the most engaged power brokers, press and prospects in international electronic media and entertainment. The fifteen exhibition halls, themed by creation, management and delivery are complimented by a host of feature areas specially designed to enhance visitors experience.
Career Paths in Film and Television Sound
Tour of The Bakery, Sony Scoring Sound Stage, Panel Discussion, Q&A, Networking and Mentoring Social.
- Date September 18th
- Location: Sony Studios
- Directions Here
- 7 pm to 10 pm
You must register for this event to obtain parking permit and reservation
- 7pm: Tour of The Bakery and Sony Sound Stage
- 8pm: Panel Discussion
- 9pm: Q&A & Networking Social
- 10pm: End
Moderator: Anne Marie Slack – Executive of Organization Services Motion Picture Sound Editors (MPSE)
Karen Baker – Supervising Sound Editor, Warner Brothers
Karen is a two-time Academy Award-winning sound editor. She also has won and been nominated for several Motion Picture Sound Editors awards as well as winning the BAFTA Award for Best Sound. Her credits include Skyfall and the Bourne films.
Onnalee Blank, CAS – Re-Recording Mixer, Warners Brothers
Onnalee was a ballet dancer before getting into audio. Since then, Onnalee has won 3 Emmys and 5 Cinema Audio Society (CAS) awards for her work as dialog and music mixer on Game of Thrones.
Karol Urban, CAS, MPSE – Re-Recording Mixer, Smart Post Sound
Karol has worked on Grey’s Anatomy, New Girl, Station 19, Band Aid, Breaking 2, and #Realityhigh. She has a diverse list of mix credits spanning work on feature films, TV (scripted and unscripted), TV movies, and documentaries over the last 18 years. She currently serves of the TV Academy’s Governor’s Mixing Peer Group as well as on the board of directors for the Cinema Audio Society and is an editor of the CAS Quarterly publication.
Katy Wood – Supervising Sound Editor, Warner Brothers
Katy has worked as ADR supervisor on the recent films such as Sicario: Day of the Soldado and Guardians of the Galaxy Vol. 2. Katy’s career in sound for film has spanned the last 20 years. Katy has worked extensively in the United States, New Zealand (including the Lord of the Rings series), Australia, and the United Kingdom.
Do you have a passion for sound? Music sound… movie sound… all audio sound? Then you should consider a career in audio post production. Audio post-production careers cover a lot of areas including television, web, movies, commercials, live events, scripted shows and movies, documentary/reality, sports, and more.
Join us for a panel discussion and Q&A featuring some talented women working and succeeding in the world of post-production audio. The evening will end with a casual mentoring and networking session.
Below are just a few of the exciting jobs in post production audio.
Sound assistants or machine room operators prep materials and offer tech support to sound editors, mixers, and engineers.
Dialog editors focus on spoken word. A dialog editor listens to all of the mics for quality, smooths out transitions, fixes technical problems, and removes unwanted sounds from dialog when possible.
Music editors are responsible for adjusting music edits and finessing placement for music in a scene. A music editor also coordinates with the composer on a project, delivers all the music to the re-recording mixer, and often attends mixes (as the representative of the music department).
Sound fx editors (sound designers) are person responsible for non-language sounds. The sound designer has a sound effects library (a catalog of sounds) but also records specialized sounds when needed. He/she adds background ambience sounds and will embellish sounds like explosions, car engines, or guns. The sound designer also has to build sounds from scratch for visual effects or creatures that don’t exist.
ADR Mixers are responsible for recording actors in a studio. The actor performs the line while watching it on a screen and the ADR engineer adjusts microphones and watches for sync (how well the new recorded audio matches their lip movements on-screen). In some cases, ADR is recorded without picture (some cartoons, for example).
Foley mixers are responsible for recording certain non-speaking sounds. The Foley engineer works in a studio with a Foley artist, who makes the sounds while the engineer records it. The Foley team covers sounds such as footsteps, cloth movement, eating, touching or handling objects.
Supervising Sound Editors (or Sound Supervisors) oversees the sound crew working on a project (sort of like a manager). They communicate with directors, producers and picture editors about sound, supervises ADR sessions, and attend the dub mix. Sometimes there are multiple sound supervisors on a project and are split up by element. ADR & Dialog Supervisor, for example, only focuses on those two elements.
Re-recording mixers combine all the sound elements (dialog, voice-over, sound fx, Foley, and music) into one project. The mixer adjusts the levels of those sounds together (similar to the job of a live sound mixer or a music mixer). Sound mixers may work alone or in teams with each person focusing on different elements. After the re-recording mixers adjust for balance (looking at it technically and creatively), there will be a review with the producer, director, picture editor, or other members of the film crew to listen, give notes, and make adjustments.
A new section is being formed within AES UK to provide a forum for professionals, researchers and innovators to discuss developments and requirements related to mastering audio.
It is the intention of the section to give a platform for the mastering community to discuss, guide and take part in the changes afoot in the industry. To take an active, leading and inclusive approach to the developments ahead.
Given the ever-changing requirements placed upon the mastering engineer, the section intends to expose high quality, high resolution audio outcomes. This is not to exclude other valid forms of music delivery but to promote and support a greater passion for listening.
If you are interested in working with the section, proposing a workshop event, or a product appraisal event in 2019, please contact email@example.com.
AES UK Mastering Section foci:
● Promotion of good practice in audio analysis and comparative evaluation of audio/processing.
● Expose high quality audio delivery to a wide audience.
● Promote and support technical standards in high quality playback models and delivery systems
● UK mastering focused events
● bi-annual AES UK Mastering Section Conference (first conference 21-23 September 2018, London – www.aesmasteringsection.co.uk)
We’re returning to Nashville for a day of workshops covering songwriting, recording, mixing and mastering, inspiring business discussions covering artist branding, revenues + artist showcase and beat battle + an expo of the latest music technology.
Registration opens soon.
Helixnet, the digital partyline system from American intercom specialist Clear-Com, can now be found in all areas of event technology: Rental companies, theaters and fixed installations rely on the reliability and flexibility of the Partyline system. In this seminar, the features of the devices in conjunction with general intercom basics are taught. In addition, we will give you an insight into the entire portfolio of the American intercom specialist.
FreeSpeak II, the digital radio intercom system from American intercom specialist Clear-Com, is used in the most demanding and complex productions worldwide. In this seminar, the features of the system in connection with general intercom basics are taught. In addition, we will give you an insight into the entire portfolio of the American intercom specialis
The Operator Fundamentals covers the fundamentals of setting up a Smaart measurement rig and using Smaart to make basic RTA, Spectrograph, Transfer Function and Impulse Response measurements. Special attention is paid throughout the course to the subject of how to make valid and useful measurements, as opposed to simply making cool squiggly lines appear on the screen. This course begins with an overview of both the general system measurement theory involved as well as the operational context in which Smaart is used, namely in Sound System Engineering and Alignment. This course focuses on providing the attendee with a functional knowledge of how Smaart operates as a tool before expanding to the application of that tool in sound system engineering, and as much as possible, examines data interpretation as much as acquisition.
The first 2 days of class are primarily a classroom lecture and lab format, relying heavily on in-class measurements and utilizing a signal distribution system to distribute the instructor’s stereo measurement signals to the entire class. The 3rd day involves a hands-on practicum focusing on the implementation of the information presented in the first 2 days. It presents the use of Smaart in a methodical process of evaluating and adjusting the individual system components, and the subsequent combination of multiple subsystems into a multi-channel / distributed sound system. Throughout this alignment practicum, the session seeks to reinforce the necessary collaboration of measurement and listening skills
The Operator Fundamentals Class provides:
- A fundamental description of the measurement concepts involved in dual-channel FFT based analysis (as used in our industry)
- A systematic breakdown of how they are realized in Smaart measurement software
- A detailed and hands-on (as possible) examination of the requirements for configuring and controlling a Smaart measurement rig.
Topics Covered Include (but not limited to):
Fundamental Measurement Concepts:
Single channel vs. dual-channel measurements / Time domain vs. frequency domain analysis / What the heck is an FFT?
Smaart Software Overview:
Software install/update & upgrade / Measurement Configuration / Measurement control & interface navigation
Anatomy of a Measurement Rig :
Hardware requirements / Standard Configurations / Basic Troubleshooting
RTA and Spectrograph Measurements:
Averaging and Banding / Feedback identification (& other cool things to do with Spectrograph / Calibration for SPL
Transfer Function Measurements:
Magnitude, Phase & Coherence traces: how they are generated and how to read them / Data Thresholding Functions and Improving Measurement Quality / Data Storage and Trace Averaging
Impulse Response Measurements:
Setting up the delay for Transfer Function measurements: Live IR and Delay Tracking / Measuring delay times for speaker system time alignment / Tips for improving IR measurement quality / The Impact of FFT Time Constant (window length) on Measurements
Measurement Position Choice and Microphone Placement
- Measurement position selection – choosing our system alignment decision points
- Microphone placement and coping with boundary conditions (e.g. ground bounce)
- Single vs. Multiple position
Measuring and Tuning an Individual Speaker System
- Determining proper loudspeaker operation – near field measurements
- Evaluating loudspeaker coverage
- Measuring and adjusting speaker response in coverage area
Extension of Coverage: the Addition of Fill and Delay Systems
- Alignment checklist for each system – Freq. Response, Level, Delay and Polarity
- LTC: Level – Time – Combine, a systematic process for combining systems
- The 5-minute delay: a quick procedure for setting initial delay system parameters
- The curious issues involved in measuring sub woofers in the “real world”
- Timing the crossover between main systems and subs
- Cardioid subwoofer arrays – controlling / steering sub energy
The Smaart Operator Fundamentals course is open to all interested persons. Prior system alignment experience is not required, but is definitely helpful. This course does assume a working knowledge of professional sound system engineering practices and basic audio fundamentals. If you have any questions concerning course prerequisites, please do not hesitate to contact Rational Acoustics prior to registration.
Do your interests or work include Broadcast and Streaming, Networked Audio, Audio for Virtual and Augmented Reality, Live Sound, Studio Recording, Home Recording, Music Production, Game Audio, Sound for Picture or Product Development? AES New York 2018, the 145th Audio Engineering Society International Convention has you covered in one exclusively end-user focused event.
All Access registration provides access to the entire Convention, including a comprehensive papers, workshops and tutorials program. Exhibits-Plus access gains you entry to the exhibition floor and demo rooms, where leading manufacturers reveal and demonstrate the latest in audio hardware and software tools. The “Plus” includes the application-oriented sessions on the exhibit floor Expo theatres and Pavilions, along with other special events.
AES New York 2018 will be co-located with the independent NAB Show New York 2018 event. In an adjacent exhibition hall, NAB Show New York exhibitors will be on hand with the latest video and distribution hardware and related sessions. Your Exhibits-Plus or All Access AES New York registration includes access to both exhibition halls.
If It’s About Audio, It’s at AES!
Join us on Oct.17th for coffee and late lunch – early dinner.
We welcome SoundGirl Daniela (Dani) Seggewiss from Leeds, England & Germany. You can read more about Dani here https://soundgirls.org/
Looking forward to seeing everyone
Join SoundGirls for an evening learning about hearing health, live sound, noise-induced loss and how to prevent it. Learn about IEMS and ear plugs and how to use them properly. Dr. Julie Glick of Musicians Hearing Solutions will have demos of different IEMS available; JH Audio, Ultimate Ears, Sensaphonics and Noble Audio. Plus we will have plenty of time to meet and network with other SoundGirls members. Musicians Hearing Solutions will be offering attendees a discount on products and services. (details TBD)
- October 23, 2018
- 6:00 PM to 9:00 PM
- Harman Professional Solutions
- 8500 Balboa Blvd
- Northridge, CA 91329
- 6:00 to 7:00 pm Social/Networking
- 7:00 to 9:00 pm Hearing Health Seminar
Dr. Glick was first introduced to custom in-ear monitors and musicians earplugs twenty years ago when she started her career in a private practice in Beverly Hills, California and is thrilled to have come full circle after spending time gaining a myriad of experiences in Chicago and New York City.
Her passion for music and commitment to the field of audiology led her to recognize that the optimization of the live performances of musicians and hearing conservation was a niche she wanted to be involved in from the very beginning. Over the past twenty years,
Julie has spent invaluable time with monitor/sound engineers and has been backstage and in rehearsal studios with musicians of all genres. She has also worked as an audiologist for two years at Sensaphonics Hearing Conservation in Chicago. Through all of these experiences, she has gained great insight and appreciation for all the technical details that go into live musical performances and how important hearing and hearing conservation is to not only musicians but to the fans as well. Dr. Glick’s knowledge and technical expertise of sound, hearing and hearing conservation make her a valuable asset to the music community.
Dr. Glick received her Bachelor of Arts degree in Speech and Hearing Science from The Ohio State University, Master of Science in Communicative Disorders from California State University, Northridge and Doctor of Audiology from the Pennsylvania College of Optometry, School of Audiology. Dr. Glick is a licensed Audiologist and Hearing Instrument Dispenser in the states of California and New York and a Fellow of the American Academy of Audiology.