Dr. Ian Corbett Presents: “Mic It for the Mix!” @ Futura Productions.
Whether you have only one microphone and one recording room, or have a variety of microphones and different rooms available, it’s essential to think about the final mix well before you even get into the recording studio. Join Ian as he presents some of the ideas and concepts from his Focal Press/Routledge book “Mic It! Microphones, microphones techniques, and their impact on the final mix”. What do you need to think about before and during the recording process to optimize your tracks for your mix? What are you trying to control and capture when you record? What should your priorities be? What are the sonic, artistic, and financial benefits of miking for the mix? Real world and every-day situations will be presented, with plenty of audio examples, and some live demos if facilities are available!
Dr. Ian Corbett is the Coordinator of the Audio Engineering Program, and Professor of Audio Engineering at Kansas City Kansas Community College. He also owns and operates “off-beat-open-hats – recording and sound reinforcement”, specializing in servicing the needs of classical and jazz ensembles in the Kansas City area. Since 2004 he has been a member of the Audio Engineering Society’s Education Committee, and has mentored, presented, and served on panels at local, regional, national, and international AES events. Ian is the author of “Mic It! – microphones, microphone techniques, and their impact on the mix”, published by Focal Press/Routledge, and he also writes articles for Sound On Sound (“The Worlds Best Recording Technology Magazine”). Ian holds a Doctor of Musical Arts degree in composition from the University of Missouri-Kansas City. He can also be found playing jazz saxophone, as well as eating and drinking in various jazz clubs and restaurants around Kansas City. For more information, please see: www.offbeatopenhats.audio
Host: Futura Productions
Featuring a state-of-the-art recording studio located in the Roslindale neighborhood of Boston, Massachusetts, Futura Productions handles a variety of projects from all over the world. Recording ensembles of up to 70 musicians or 100 vocalists is easily handled in the live room, which measures an enormous 60′ by 38′ with a 22′ arched ceiling. There are also 2 isolation rooms, a magnificent Steinway 9′ concert grand piano, and a comprehensive mic collection. The spacious control room has a large format console, stereo and 5.1 surround monitoring, and a dizzying array of outboard equipment ranging from vintage analog to modern high end digital.
John Weston has recorded and produced many projects for both major and independent record labels, and has worked with numerous platinum level producers and engineers. In 2007, John was nominated for the Latin Grammy Record of the Year for his work with Beyonce and Shakira on the song “Beautiful Liar”. In 2014 he recorded cellist YoYo Ma on the Grammy winning song “New York Tendaberry”.
Before: meet at Romano’s 4249 Washington St, Roslindale, MA 02131
After: meet at Napper Tandy’s 4195 Washington St, Roslindale, MA 02131
Sponsor: Parsons Audio
Parsons Audio is a leading dealer in professional audio goods in New England, Florida, and beyond. They offer hundreds of mid to high-end product lines – perhaps the widest choice of good stuff anywhere. They also have great deals on used gear and rental gear.
Needham Line departs Back Bay Station @ 6:41pm
Needham Line arrives at Roslindale Village @ 6:56pm
Doors open at 7:00pm
Talk begins @ 7:15pm
Trains depart for Back Bay Station at 9:00pm or 10:30pm
Transportation from Berklee School of Music via MBTA Commuter Rail: Take the 6:41pm Needham Line train from Back Bay Station to Roslindale Village. More info here.
Futura Productions Inc. 617-325-1004
4 Belgrade Avenue
Roslindale, MA 02131
Futura Productions is located on the 3rd floor of #4 Belgrade Avenue, a 3 story brick building across from the Roslindale Village Commuter Rail T station. Free parking is available on the street. Once you arrive at the main entrance at 4 Belgrade Ave, please call Futura Productions at 617-325-1004 to gain access.
More transportation details here: http://
Can convolution do realistic distorted reverberation? Or how to create a believable plate reverb sound in the digital domain?
Lecture by Giancarlo Del Sordo (CEO/CTO of Acustica Audio) and Nikolay Georgiev (plug-in developer at Acustica Audio, Past Chair of the AES UK Section, Recording Engineer and Educator). London, 22nd of September 2017. Venue: Dolby Europe London Office, 4-6 Soho Square, W1D 3PZ.
The main topic of this lecture will be on nonlinear convolution based on Vectorial Volterra Kernels Technology and distorted reverberation, with plates as a case study. In the presented technology the Volterra theorem is applied as a complete re-thinking, replacement, and substitution of the convolution algorithm that is commonly used in audio applications. The talk will also include a look into an original implementation of Partitioned Convolution not relying on the standard Lake/Gardner approach and some of the technical strategies for the practical implementation of low-latency, low-CPU consumption, real-time engine. Audio demonstrations of the so recreated plate reverb and other audio processors and distorted reverbs will be included.
This talk will consist of 2 x 50 min presentations plus refreshments courtosy of Acustica Audio. As usual we will continue the discussion at the pub after the event.
One of the biggest news stories of the year has been how women at the top end of broadcasting have found they are being paid less than their male colleagues. Add to this the impact of high profile sexual behaviour cases, and the #metoo movement, and some feel there’s something of a revolution going on.
- But what are the standards that should be acceptable?
- And how can women in the radio and audio industry make sure they don’t still end up “with the fuzzy end of the lollipop” when it comes to pay, basic rights and career advancement?
- And how can men and women in our industry help to create a fair work environment for all?
For this special RIGtrain masterclass, award-winning broadcaster and member of the Radio Academy Hall of Fame, Jane Garvey, is our host as we hear from experts in law, HR, negotiation, freelance survival and from those who have successfully asserted their creativity in the audio world by doing things differently. Speakers to be announced.
Producers: Sue Clark and Husain Husaini
When: Wednesday March 7th 2018 at 6.45 pm
Where: University Women’s Club, 2 Audley Square, London, W1K 1DB
Cost: £10 + VAT
Book now at https://bookwhen.com/davidwhistledown/e/ev-s23x-20180307184500 (link applies to this event only)
On the 8th March 2018, the Audio Engineering Society Scottish group will be hosting a Question Time style panel discussion on Gender Equality under the banner of the United Nations’ #HeforShe Campaign.
The event will feature high profile panelists involved with audio, acoustics and in engineering more broadly, including:
Dr Bernadette McKell (Acoustician, Director at Jacobs)
Diane Jardine (Dubbing Mixer)
Dr Iain White (President of Engineering Scotland)
Colin Anderson (veteran game developer, Denki)
Anne Sullivan (Live Sound Engineer)
Andrzej Sosna (MD at Fyne Audio, previously MD at Tannoy)
The session will be chaired by renowned journalist Bill Magee.
The AES is committed to gender equality and to a formal alignment with the United Nations #HeforShe campaign. As advocates of this UN campaign, which among others, provides tools on the preparation of gender equal events, we encourage individuals, companies, societies and others, to a make a moral stand for gender equality.
This event is sponsored by The Warehouse Sound Services
July 30th at 7p.m. (also via Zoom) where Arica Rust will present an overview of the S.M.A.A.R.T analysis tool for a particular usage: ensuring time-alignment in an existing sound install (like where you’re touring) and using it to assess a space before you build a system in a system for a show.
Hope you can attend.
City College of San Franciso
Arts Extension Building
AES South of England Group
Thursday 29th November, 2018. 6pm refreshments for 6:30 start.
Palmerston Lecture Theatre, The Spark Building
Solent University, Southampton.
Sound Design for ‘A Feral World’ – Leslie Gaston-Bird, Sound Supervisor
A Feral World” is a post-apocalyptic tale of survival featuring a young, orphaned boy and his friendship with a woman who’s desperate to find her missing daughter. Filmed over four years, we watch the boy mature into a teenager. Sound supervisor Leslie Gaston-Bird (AMPS, MPSE) gives an overview of creating and managing audio assets for the 5.1 mix for this feature, which is scheduled to debut next year.
Leslie Gaston-Bird Leslie is a sound engineer with over 30 years of experience in film, video, music, and radio. She works at Mix Messiah Productions, based in Brighton and London. She is also Vice President for the Audio Engineering Society’s Western Region (USA & Canada). Leslie is a former Associate Professor of Recording Arts at the University of Colorado Denver, where from 2013-2015 she served as Chair of the Department of Music and Entertainment Industry Studies.
While spaces are not guaranteed, parking is available onsite for this meeting – you can access the university car park from St Andrews Road, Southampton. The Palmerston Lecture theatre is on floor 0 of the Spark Building, which is accessible from East Park Terrace. We are close to city centre car parks, and also 10 minutes walk from Southampton Central Station.
U.K. SoundGirls Dec. 14th – AES welcomes our own SoundGirl Kirsty Gillmore
AES London is delighted to welcome Kirsty Gillmore!
Speech intelligibility refers to the proportion of the original spoken signal within a sound stream which can be understood by the listener. Issues relating to speech intelligibility affect not only the estimated 11 million people in the UK currently thought to have some kind of hearing impairment, but also normal hearing listeners: a dialogue stream can be perfectly audible, but not understood, and even when the intelligibiltiy of a dialogue stream is high, it might not be accepted by the listener due to other issues such as poor sound quality or personal taste.
Object-based audio (OBA) and the forthcoming initial roll-out of 5G mobile networks are two technological innovations with the potential to improve not only audio accessibility for multi-media platforms, but also to provide greater levels of personalization, immersion, and interactivity. The OBA approach is to capture and transmit individual audio objects comprising of stems and their corresponding metadata; a renderer at the user end then creates the audio mix based on the metadata, the number of listening devices available and their configuration. The rendering process can be adapted as per an individuals needs or preferences, making OBA a much more flexible approach than channel- or scene-based audio.
This talk will present some of the latest research emerging from the University of Salford and S3A project into manipulations of object-based audio, in particular highlighting how this approach can improve speech intelligibility for both headphone and loudspeaker reproduction for multi-media platforms.
Philippa Demonte is currently a PhD Acoustics & Audio Engineering student at the University of Salford.
Her career path thus far has been unconventional, but the common link has been a love of sound.
Active involvement in student radio and electro-acoustic music composition lead to a decade-long career with a
record company, and then…volcano and geyser seismo- and aero-acoustics. A serendipitous tweet 2 years ago then brought Philippa into the realm of psychoacoustics and back to an interest in audio engineering.
Ellie Williams is a field Sound Recordist specialising in wildlife documentaries.
She has worked for the BBC Natural History Unit for 16 years, first in Production then as a freelance recordist. She is currently working on BBC2’s ‘First Year on Earth’ series which has taken her to an ancient monkey temple in Sri Lanka, the wildlife-rich Samburu National Reserve in Kenya and the remote fjords of Iceland.
During her career in wildlife television she has camped in deep snow, climbed her kit up mountain ridges on the edge of the Arctic Circle, followed fluking sperm whales and waded knee-deep across a crocodile inhabited river.
Ellie has always been fascinated by sound – from recording with her father’s dictaphone as a child to gigging in bands and working on stage at festivals.
“I don’t think I’ll ever lose the child-like wonder that I feel when listening to the world through headphones. Everything becomes hyper-real – the rushing of a waterfall, the deep rumble of an elephant, the warmth of the human voice. My mission is to accurately and creatively capture location sound and in doing so help immerse the viewer into the world of the film, adding authenticity and depth to the moving images”.