In both live events and AV integration, there is an increasing requirement to transport audio digitally across a network. These networks can range from simple point-to-point connections to larger networks spanning several locations.
Audio Networking is aimed at audio engineers who want to gain a better understanding of the IT networking standards commonly used in today’s audio transport protocols.
The seminar will explore the path from point-to-point digital audio transport through to modern converged networks, and the future interoperability offered by standards such as AES67.
The agenda will cover:
- The History of Digital Audio Networks
- The OSI Model
- Network Hardware
- IP Addressing & Subnets
- Network Topologies
- IT Protocols
- Network Setup & Troubleshooting
Products on Show:
- QSC Q-Sys
- Shure Microflex Wireless
- Shure ULX-D
- Shure QLX-D
Mr Andrew Francis
Senior Applications Engineer
Shure Distribution UK
Market Development Manager
Shure Distribution UK
- AV Technicians
- Audio Engineers
- AV Sales Personnel
- AV Project Managers
- Free of charge to Shure Distribution UK partners (Value £99+VAT).
- Non-partners also free of charge (subject to availability).
Seminar Level 1
‘Calibration and Design Techniques for Mod
Especially for live sound engineers with or without experience. To refresh and supplement the knowledge or first-time examination of PA systems and the relevant physics.
Level 1 ‘Calibration and Design Techniques for Modern Sound Systems’ lasts 4 days and is designed to illuminate the magic of PA systems. It should provide the basis and physical insight to achieve predictable and reproducible results with sound systems, regardless of brand or speaker type. Analyzing the results using FFT measurements (Smaart 7, Systune, SIM 3, Tuning Capture, etc.). The complete transmission path from source to receiver is thoroughly analyzed in the acoustic, electrical and psycho-acoustic field. The goal is to provide the participants with the tool to develop realistic expectations of public address systems. You will receive a certificate of participation.
Please register by e-mail . The number of participants is limited to 25 people.
After registration you will receive an invoice with money order. VAT is shown. EU foreign participants please indicate UID.
Featured Products: SystemT, SSLlive
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.
How Technology is Changing the Live Sound Experience – SoundGirls Hosted Panel
From live mixing apps to immersive sound systems, a new wave of technology looks to enhance the connection between the audience, engineers and artists. Join our panel of audio experts to discuss how these innovations will change our approach to live sound
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.